MARCH, 2006

T H E D I A PA S O N

Second Presbyterian Church, Roanoke, VirginiaCover feature on page 27

Organ Combination Duos

Oct/Nov 2006 & February 2007

Organized RhythmClive Driskill-Smith, organistJoseph Gramley, multi-percussionist

Percussion and organ, a somewhat surprising combination with a surprisingly pleasing sound, nowhas its own duo of performers.

“Not only an exciting two-hour musical adventure, but also a startlingly clear insight for me into whatmakes a live performance good, and why good live performances are important for us....passion,technical mastery, and precision...two young musicians doing what they clearly love—making music,not just for themselves, but for us as well.” (The Granite State News, Wolfeboro NH)

November 2006

Paulsson & Canningsoprano saxophone & organ duo, Sweden

“World class musicians...roaring applauseand standing ovations.” (Skövde Nyheter, Sweden)

“One of the greatest musical experiences I have ever had.”(Nynäshamnsposten, Sweden)

“The performance was superb, with a beautiful combination of distinctive organplaying and Paulsson’s supple, exquisitely pure saxophone tone.” (Upsala Nya Tidning, Sweden)

“Paulsson’s Bach playing was like a miracle.The audience went wild.”

(Vakka-Suomen Sanomat, Finland)

Anthony & Beardtrumpet & organ duo

“There must be other trumpeters in this world asfine as Ryan Anthony, but you’d never think so whilelistening to him play.” (Fanfare)

“Dashing...stole the show with obvious enjoyment of music-making and by his personification ofthe [Canadian Brass’] relaxed audience rapport.” (Daily Camera, Boulder CO)

“Young trumpeter added both flash and class to the [Canadian Brass] ensemble. Ryan Anthonyplayed with big-city charisma.” (The Gazette, Montreal Quebec)

“A dazzling performance by Ryan Anthony”

(The Plain Dealer, Cleveland)

April 2007

Gough Duo violin & organ duo, England

“The playing is spectacular, the music is wonderful, and the ensemble betweenviolin and organ is superb.” (American Record Guide)

“The playing from both is very fine throughout, with a warmth of sound from the violin, and someconsiderable virtuosity on display.” (Organists’ Review, England)

“Sheer joy and pleasure...delightful and satisfying from all angles.”(Paul L. Reynolds, St. Paul’s Episcopal Church, Chattanooga, Tennessee, presenter)

“Each the master of their own instruments, they play exquisitely together as an ensemble.They held the audience spellbound.”

(Dan Schmal, Wisconsin Lutheran College, Milwaukee, presenter)

Bushnell Tower Suite R, 1 Gold Street, Hartford CT 06103-2914toll-free (888) 999-0644 • fax (860) 560-7788 email@concertartists.com

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MARCH, 2006 3

THE DIAPASONA Scranton Gillette Publication

Ninety-seventh Year: No. 3, Whole No. 1156 MARCH, 2006Established in 1909 ISSN 0012-2378

An International Monthly Devoted to the Organ,the Harpsichord, the Carillon and Church Music

Editor & Publisher JEROME BUTERAjbutera@sgcmail.com

847/391-1045

Associate Editor JOYCE ROBINSONjrobinson@sgcmail.com

847/391-1044

Contributing Editors LARRY PALMERHarpsichord

JAMES McCRAYChoral Music

BRIAN SWAGERCarillon

HERBERT L. HUESTISOrganNet Report

Osiris Organ Archivewww.mdi.ca/hhuestis/osiris

e-mail: hhuestis@mdi.ca

Prepress Operations DAN SOLTIS

CONTENTS

FEATURES

The University of MichiganHistoric Organ Tour 52

by Marilyn Mason 17

Albert Schweitzer Organ Festival/USAby David Spicer 18

The Organ Music of William Walondby John L. Speller 19

A New Aubertin Organ in the German Baroque Style—Saint-Louis-en-l’Isle Church, Paris, France

by Carolyn Shuster Fournier 22

British and French Organ Music Seminars 2005by Christina Harmon 26

LETTERS TO THE EDITOR 3

NEWS

Here & There 3, 4, 5, 6, 8, 10Appointments 5Nunc Dimittis 10In the wind . . .

by John Bishop 10

REVIEWS

Music for Voices and Organ 12Book Reviews 14New Recordings 15New Organ Music 16

NEW ORGANS 28

CALENDAR 29

ORGAN RECITALS 32

CLASSIFIED ADVERTISING 34

THE DIAPASON (ISSN 0012-2378) is published monthly byScranton Gillette Communications, Inc., 380 E. NorthwestHighway, Suite 200, Des Plaines, IL 60016-2282. Phone847/391-1045. Fax (847) 390-0408. Telex: 206041 MSG RLYEmail: jbutera@sgcmail.com web: TheDiapason.com

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Cover: Goulding & Wood, Inc., Indianapolis,Indiana; Second Presbyterian Church, Roanoke, Virginia 27

www.TheDiapason.com

Thomas RichnerI was thrilled to read the interview

with “Uncle T” in the December issueof THE DIAPASON. I cannot express howmany wonderful memories flooded me.As a teen, I was a conservatory student;though I wouldn’t exchange that oppor-tunity for anything, I can’t imagine mydevelopment without my simultaneous“Copley Square education.”

The Mother Church, where Dr.Richner played, wasn’t exactly in CopleySquare, but it was only a five-minutewalk from Old South and Trinitychurches. The sounds from those threechurches! They made an indelibleimprint on my soul that I still can drawupon when I play or compose to thisvery day.

In his 20 years at Trinity, Brian Jonesturned the Trinity Choir and Orchestrainto an internationally renownedensemble. The colors from the organand voices seemed to rival the stencil-ing that covered every inch of H. H.Richardson’s masterpiece. Scarcely lessbeautiful was Old South Church,across the square. That E. M. Skinnerwas and is the most sumptuous, color-ful organ that I know anywhere in theworld. No one played it like FrederickMcArthur! The purring celestes, the

rumbling 32 s, the roaring reeds—for10 years, Fred perfumed the air withall of it. I never felt he was trying toeducate or even to be a musician(which he inherently was). My impres-sion was, rather, that of a chef whofilled the air with delectable aromas ina town where everyone else was count-ing calories.

Just down the street, at the ChristianScience “Mother Church,” Uncle T’srecitals on piano and organ will be for-gotten neither by me nor by many otherBostonians. His Mozart had unap-proachable grace, elegance, and thatRubinsteinian directness that was so“simple” no one could imitate it. Every-thing Richner played, on organ or piano,had these same qualities.

“Tonal palette” is an inadequate termfor that colossal, 13,500-plus-pipeinstrument. On what instrument couldone better hear Langlais’ Chant de Paix,or the thunderous opening of Widor’sSixth, or Dr. Richner’s own composi-tions, which he played for me while I saton the bench next to him?

Thank you for the interview and forthe memories. Long live Uncle T!

Leonardo CiampaDirector of Music, St. Paul’s Church

Brookline, Massachusetts

Send subscriptions, inquiries, andaddress changes to THE DIAPASON, 380E. Northwest Hwy., Suite 200, DesPlaines, IL 60016-2282.

Letters to the Editor

Here & There

UCLA Live presents “Royce HallOrgan & Film,” featuring UCLA organ-ist Christoph Bull accompanying threesilent films on March 4 at Royce Hall onthe UCLA campus. The Royce Hallorgan, by E. M. Skinner, made its debuton September 7, 1930, with HaroldGleason at the console. For information:310/825-2101; <www.UCLALive.org>.

Christ Church, New Brunswick,New Jersey, continues its Sunday Ves-pers recital series (Vespers at 6 pm,recital at 6:30 pm): March 5, John Brock;3/12, Robert McCormick; 3/19, Christo-pher King; 3/26, Richard Heschke; April2, Gail Archer; 4/9, Crescendo Brass;4/23, The Practitioners of Musick; 4/30,4/30, Paul-Martin Maki; May 7, BrendaDay; 5/14, Brian Harlow; 5/21, Gwen-dolyn Toth; 5/28, Andrew Peters. Forinformation: 732/545-6262; <christchurchnewbrunswick.org>.

Brick Presbyterian Church, NewYork City, continues the series dedicat-ing its new Casavant organ: March 6,Stephen Tharp; April 14, Stainer: TheCrucifixion (12:15 pm), Dupré: LeChemin de la Croix (7 pm, Keith Toth,John Herrington III and other guestorganists); May 8, Jane Parker-Smith.For information: 212/289-4400 x231; <www.brickchurch.org>.

The Church of St. Joseph,Bronxville, New York, continues itsmusic series: March 10, Pergolesi: Sta-bat Mater; April 30, Schwartz: Godspell;May 14, music for handbells, flute, andclarinet; 5/21, Brahms: Requiem. Forinformation: 914/337-9205; <ChurchOfStJoseph@aol.com>.

Brevard-Davidson River Presby-terian Church, Brevard, North Caroli-na, continues its music series: March 10,Florence Jowers; 3/19, Rutter:Requiem; May 21, premiere of commis-sioned anthem by Douglas E. Wagner.For information: 828/884-2645 x31; <www.bdrpc.org>.

VocalEssence will present the pre-miere The Passion of Jesus of Nazarethby Francis Grier on March 11 at St. OlafCatholic Church, Minneapolis. Thework was commissioned by Vocal-Essence and the BBC Singers. The firstperformance in the United Kingdomtakes place on April 14 in the Chapel atKing’s College, Cambridge. For infor-mation: 612/547-1459; <www.vocalessence.org>.

St. Peter’s Episcopal Church, BayShore, New York, continues its music

series: March 12, Carol Weitner; May21, third annual hymn festival with R.Walden Moore and Nigel Potts. Forinformation: 631/665-0051 x12; <www.stpetersbayshore.org>.

Independent PresbyterianChurch, Birmingham, Alabama, con-tinues its music series: March 12,Mozart: Missa Brevis in D, Britten:Missa Brevis, Keever: Psalms; June 14,summer choral concert. For informa-tion: 205/933-1830; <www.ipc-usa.org>.

The Northwest Choral Society,Park Ridge, Illinois, concludes its 40thseason: March 18, Mozart: CoronationMass in C; June 3, musical theatreselections. For information: 630/837-1666; <www.nwchoralsociety.org>.

The Illinois Great Rivers Chapter ofthe Fellowship of United Methodistsin Music and Worship Arts will spon-sor its 18th annual handbell festival onMarch 18 at Northfield Inn Suites andConference Center, Springfield, Illi-nois. The festival is led by Lee Afdahl,and the schedule includes group ringingsessions, ending with massed ringing.For information: 217/787-4403; <dittberner@sbcglobal.net>.

Holy Trinity Lutheran Church,Lancaster, Pennsylvania, continues itsmusic series: March 19, Nathan Laube;3/26, music for the Lenten season byThe Trinity Choir, Peter A. Brown,organist and choirmaster. Friday noon-day organ recitals take place March 3,Peter Brown; 3/10, Gary Garletts; 3/17,Cynthia Kahler; 3/24, Margaret Marsch;3/31, Marcos Krieger; April 7, KarlMoyer. For information: 717/397-2734;<www.trinitylancaster.org>.

The Church of the Resurrection,Eugene, Oregon, continues its musicseries: March 19, Choral Evensong(music of Mozart, including LaudateDominum); April 9, University of Ore-gon Collegium Musicum; May 7, Festi-val Evensong (Rutter: Hymn to the Cre-ator of Light, Mass of the Children). Forinformation: 541/686-8462; <http://resurrectioneugene.org>.

The Church of St. Helena, Min-neapolis, continues its music series:March 21, Steve Gentile (Bach birthdayrecital); April 28, Gail Archer; 4/29, lec-ture, slide presentation and masterclassby Gail Archer. For information:612/920-9511; <www.sthelenampls.com/church/>.

� page 4

The Boston Organ Academy 2006takes place July 25–August 1 at Old WestChurch, Boston. Led by Yuko Hayashiand Jon Gillock, the schedule includestwo daily masterclasses. Sessions cover17th–18th century repertoire (Hayashi)

and 19th–20th century repertoire(Gillock). The academy will open with afaculty recital and close with a recital byparticipants. Deadline for applications isMay 15. For information: 508/435-6167;<Phrygian@aol.com>.

Boston Organ Academy 2005

4 THE DIAPASON

The William Ferris Chorale con-tinues its 2005–06 series at Mt. CarmelChurch, Chicago: March 24, Stravinsky:Mass and hymns from the Eastern andWestern traditions of the Church; May19, Hakim: Messe Solennelle for choirand two organs. For information:773/325-2000; <www.mt-carmel.org/chorale2004-2005.htm>.

The Music Series at SouthChurch, New Britain, Connecticut,continues its 2005–06 season: March 26,The Choir of St. John’s College, Cam-bridge (UK); April 30, Paul Jacobs; June15, bass Craig Hart. For information:860/223-7555; <www.musicseries.org>.

The Grand Rapids Cantata Choirconcludes its 2005–06 season on March26 at St. Mark Episcopal Church, GrandRapids, Michigan. The program featuresmusic of Arvo Pärt and John Tavener.For information: 616/575-7464; <www.grcantatachoir.org>.

St. Luke Church, Chicago, contin-ues its Bach cantata series: March 26,Cantata 3, Ach Gott, wie manchesHerzelied; June 4, Cantata 137, Lobe denHerren. For information: 773/472-3383;<www.stlukechicago.org>.

Presbyterian Homes, Evanston,Illinois, continues its recital series atElliott Chapel: March 27, MargaretKemper; April 24, Nathan LeMahieu;May 22, Cathryn Wilkinson; June 26,Karen Beaumont. For information: <mkemper@northwestern.edu>.

St. Chrysostom’s Church, Chicago,continues the recital series celebratingits new organ by C. B. Fisk: March 29and April 5, David Schrader (Dupré: LeChemin de la Croix); May 21, ThomasWikman. For information: 312/944-1083 x19; <www.saintc.org>.

Plum Street Temple, Cincinnati,Ohio, will present a symposium March31–April 1 to celebrate the rededicationof the 1866 Koehnken & Co. organ.Built by the Cincinnati firm ofKoehnken & Co. in 1866, the organ wasrestored in 2005 by the Noack OrganCo., Inc.—three manuals and 38 stops.The schedule includes lectures by RabbiLewis Kamrass, Jonathan Hall, BarbaraOwen, Gregory Crowell, SebastianGlück, and others, concerts by RobertaGary and the Vocal Arts Ensemble ofCincinnati, and a Shabbat evening ser-vice. The symposium is sponsored by theUniversity of Cincinnati, the Organ His-torical Society, and the Isaac M. WiseTemple. For information: 513/793-2556;<PST_Koehnken@aol.com>.

Doylestown Presbyterian Church,Doylestown, Pennsylvania, continues itsmusic series: April 2, youth choir and

handbells; 4/30, combined handbellchoirs concert; May 21, Anne Wilsonconducts her cantata Song of Hope. Forinformation: 215/348-3531; <www.dtownpc.org>.

The Choral Art Society, Portland,Maine, concludes their 2005–06 season:April 2, Handel: Messiah; May 2, Verdi:Requiem. Concerts take place in MerrillAuditorium at Portland City Hall. Forinformation: 207/828-0043; <www.choralart.org>.

The Association of Anglican Musi-cians holds its 2006 conference June25–29 in Indianapolis, with the theme,“Lord, make us servants of your peace.”Presenters include Marilyn Keiser,James Litton, Gerre Hancock, RaymondGlover, and others; commissioned worksby David Hurd, Craig Phillips, Joel Mar-tinson, Bruce Neswick, Ned Rorem, andRichard Webster. The schedule includesworship services, concerts, lectures, andchoral reading sessions. For information:<www.anglicanmusicians.org>.

The 42nd International SummerAcademy for Organists takes placeJuly 17–29 in Haarlem, the Nether-lands. The focus will be on FrenchRomantic repertoire, featuring thenewly restored Cavaillé-Coll organ inthe Haarlem Concert Hall. Presentersinclude Olivier Latry, Ben van Oosten,Gillian Weir, Ewald Kooiman, TonKoopman, Lorenzo Ghielmi, SiegbertRampe, Thomas Trotter, Piet Kee, Zsig-mund Szathmáry, Jos van der Kooy, andLoïc Mallié. Courses will also cover themusic of Bach, Buxtehude and Böhm,Sweelinck and Weckmann, Mozart,Hindemith, contemporary music, andimprovisation. For information: <www.organfestival.nl>.

St. James’ Church EpiscopalChurch in Los Angeles celebrated thetenth anniversary of the 4-manual, 90-rank David John Falconer MemorialOrgan (Murray Harris, 1924; Kimball,1926; Schlicker and Manuel Rosales,1995), with the dedication of a newAntiphonal Positiv organ. The new divi-sion was built by the J. Zamberlan &Company of Ohio and voiced by ManuelRosales. It features a Principal 8 & 4 ,Gedeckt 8 , Spitzflute 4 & 2 , and a cym-balstar. The event was celebrated with aSolemn Evensong, led by James Buone-mani, organist and choirmaster, andAndrew Brownell, assistant organist, fol-lowed by a recital by Thomas Trotter.For information: 213/388-3417; <www.SaintJamesLA.org>.

The Atlantic City Convention HallOrgan Society has announced therelease of a DVD entitled The Senator’sMasterpiece. Written, produced, anddirected by Vic Ferrer, it presents

detailed sights, sounds, and stories aboutthe Midmer-Losh organ in the AtlanticCity Convention Hall. Commentatorsinclude Barbara Fesmire and JohnGoodman (former official organists atthe Hall), Jack Bethards, Scot Hunting-ton, Curt Mangel, Vicki Gold Levi, andHarry Bellangy. A special features sec-tion has remarks about preserving pipeorgans by Thomas Murray, BarbaraOwen, and Alan Laufman. A montage ofphotographs showing the instrumentbeing built is included, as is a collectionof home movies (made between 1964and 1998), with both organs beingplayed. The DVD is available on theInternet at <www.acchos.org> or<www.ohscatalog.org> or by calling804/353-9226. A trailer can be viewedonline at <www.acchos.org> or at <VicFerrerProductions.com>.

The Southern Illinois AGO chap-ter presented Henry Glass in a work-shop on new repertoire for church ser-vices, including hymn arrangements,chorale preludes, recital material, andhymn re-harmonizations. Pictured (l tor) are Henry Glass, Missouri state con-vener; Marianne Webb, universityorganist SIU; and Pam Stover, dean ofthe chapter.

The National Association of Pas-toral Musicians has released the resultsof a survey of music directors, clergy,choir members, students, and ordinaryparishioners. The 3,000 respondentsnamed 670 different songs as mostimportant for their own life of faith. Thesurvey revealed that U.S. Catholics areinspired by songs based on a diversity ofmusical styles, including traditional, con-temporary, and others. Just over half ofthe top 25 songs were contemporaryCatholic liturgical songs written after1965, including On Eagle’s Wings; HereI Am, Lord; and Be Not Afraid. About aquarter of the top 25 songs were tradi-tional Catholic hymns that predate theSecond Vatican Council, including HolyGod, We Praise Thy Name; Ave Maria;and Panis Angelicus. A number of par-ticipants identified hymns from Protes-tant sources, including How Great ThouArt and Amazing Grace.

The following are the top 25 songsidentified by respondents to the NPMsurvey, with number of responses inparentheses:

1. On Eagle’s Wings (242)2. Here I Am, Lord (152)3. Be Not Afraid (146)4. You Are Mine (138)5. How Great Thou Art (76)6. Holy God, We Praise Thy Name (70)7. Amazing Grace (69)8. All Are Welcome (58)9. Prayer of St. Francis (43)

10. Ave Maria (42)11. We Are Called (38)12. Let There Be Peace on Earth (36)13. I Am the Bread of Life (30)14. The Summons (30)15. Panis Angelicus (29)16. The Servant Song—Gillard (29)17. Pescador de Hombres (28)18. Servant Song—McCargill (28)

William Henry Hudson

he senseof the

beautiful isGod’s best giftto the human

soul.

T

John Tarver, OrganistSpring Valley UMC

Dallas, TX

“I am utterly thrilled with SpringValley’s organ. It very willinglyexpresses my deepest musicalthoughts through finely regulatedkey action, wind chests, and pipevoicing. It produces a wide variety oftonal qualities, all of them beautiful,with a warmth that has made thecongregation fall in love with it.”

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If your company was not listedin THE DIAPASON 2006 ResourceDirectory, visit <www.TheDiapason.com> and select Supplier Login.

For more information, contactJoyce Robinson, 847/391-1044, <jrobinson@sgcmail.com>.

On January 28, The CathedralChurch of St. John, Albuquerque,New Mexico (Iain Quinn, director ofCathedral Music; Maxine Thevenot,associate organist-choir director) andthe Albuquerque AGO co-sponsored aworkshop, “Meet the King of Instru-ments.” Eighty-six participants took part

in a full morning of activities includingorgan demonstrations, hands-on work-shop with organ pipes and a video aboutorgan design and construction. Themorning culminated in the performanceof George Akerley’s Sweet for MotherGoose performed by actress LaurieThomas and organist Maxine Thevenot.

Meet the King of Instruments (photo by Kathie MacDonald-Vargo)

Henry Glass, Marianne Webb and PamStover

MARCH, 2006 5

Clair RozierOrganist/Workshop Leader

Director of MusicSt. David’s Episcopal Church

Wayne, Pennsylvania

Vicki J. SchaefferOrganist/Lecturer/Choral Conductor

Music FacultyCasady School

OrganistSt. Paul's Lutheran ChurchOklahoma City, Oklahoma

Lisa Scrivani-TiddOrganist/Lecturer

Assistant Professor of MusicSUNY at Jefferson

Watertown, New YorkUniversity Organist

St. Lawrence UniversityCanton, New York

Gregory PetersonOrganist

Organist and Minister of MusicThe Old South ChurchBoston, Massachusetts

Stephen RobertsOrganist/Harpsichordist/Lecturer

Instructor of OrganWestern CT State University

Director of MusicSt. Peter Church

Danbury, Connecticut

Jeremy David TarrantOrganist

Organist and ChoirmasterThe Cathedral Church of St. Paul

Detroit, Michigan

Jane WattsOrganist

Exclusive Recording ArtistPriory Records

First RCO Performer of the YearOrganist of the Bach Choir

London, England

Also:Colin Andrews

Cristina Garcia BanegasScott BennettMaurice Clerc

Joan DeVee DixonOlivier Eisenmann

Janette FishellFaythe FreeseMichael Gailit

Michael KaminskiKevin Komisaruk

Angela Kraft CrossWilliam Kuhlman

Bach Babes

Tong-Soon KwakOrganist

Professor of OrganCollege of MusicYonsei UniversityArtistic Director

Torch International Organ AcademySeoul, Korea

David K. LambOrganist/Oratorio Accompanist

Director of Music/OrganistFirst United Methodist Church

Columbus, Indiana

Maija LehtonenOrganist/Pianist/Recording Artist

Senior Lecturer, Organ FacultyOulu PolytechnicOrgan and Violin

with Manfred GrasbeckHelsinki, Finland

Duo MajoyaOrgan and Piano

Recording ArtistsMarnie Giesbrecht and Joachim Segger

Professors of MusicUniversity of Alberta

The King’s University CollegeEdmonton, Alberta, Canada

Jack D. MillerOrganist/Workshop Leader

OrganistSt. Mark’s United Methodist Church

Director, ChanteusesTreble Vocal Ensemble

Organist, Brador Brass, QuintetSacramento, California

Larry PalmerHarpsichordist/Organist

Professor of Harpsichord and OrganMeadows School of the Arts

Southern Methodist UniversityDallas, Texas

ConcertArtistCooperative.comBeth Zucchino, Director

7710 Lynch Road, Sebastopol, CA 95472 PH: 707-824-5611 FX: 707-824-0956

BethZucchino@aol.com

Beth ZucchinoOrganist/

Harpsichordist/PianistFounder, Director,

and Former AssociateConcert Artist Cooperative

Sebastopol, California

ConcertArtistCooperativeTwo

Heinrich WaltherOrganist/Clavichordist/Virginalist/

Recording ArtistFaculty, University of Music

Freiburg, GermanyFaculties, Church Music Schools

Heidelberg and RottenburgGermany

19. Shepherd Me, O God (27)20. Ave Verum Corpus (26)21. Lord of the Dance (24)22. One Bread, One Body (24)23. Tantum Ergo (24)24. Hosea (23)25. Pange Lingua (23)

For information: <www.npm.org>.

Corrections and clarificationsResource Directory 2006

The street address for Peterson Elec-tro-Musical Products on page 30 isincorrect; it should read 11601 S. May-field Avenue, Alsip, IL 60803.

The ad for Parsons Pipe OrganBuilders on page 43 is missing a captionat the top; it should read Parsons Opus22, Rosales Opus 33.

Appointments

British concert organist ColinAndrews has joined the faculty at EastCarolina University, Greenville, North

Colin Andrews

Carolina, where he will teach appliedorgan and the history of organ literature.Andrews has toured worldwide as arecitalist and lecturer, with recent toursin South Africa, Australia, Japan, Mona-co, Switzerland, France, and Finland.

He was also president of the jury and arecitalist at the Feliks NowowiejskiInternational Organ Competition inPoznan, Poland. Among recent and up-coming engagements in the U.S. arerecitals and lectures in Cape Coral,Florida; Hickory, North Carolina; Boise,Idaho; and Atlanta, Georgia; as well asrecitals at Westminster Cathedral, Lon-don, UK; Frankfurt, Germany; Helsinki,Finland; and Australia. Andrews contin-ues his position as organist and master ofthe choristers at St. Stephen’s EpiscopalChurch, Goldsboro, North Carolina.

Here & There

Richard Benedum, professor ofmusic at the University of Dayton, willdirect an interdisciplinary institute forschool teachers, “Mozart’s Worlds,”June 12–July 14, 2006, coinciding withthe 250th anniversary of the composer’sbirth. Thirty K–12 teachers will be cho-

Richard Benedum

sen for the institute; each teacher willreceive a stipend from the NEH for par-ticipating. The institute will be based inVienna, Austria.

Benedum has received grants for 10prior seminars and institutes on the lifeand music of Mozart for the NEH. He

6 THE DIAPASON

has also served as founder and directorof the Dayton Bach Society for 28 yearsand as chair of the music department atthe University of Dayton for 15 years.For information: Carolyn Ludwig, NEHInstitute, c/o Alumni Chair in theHumanities, University of Dayton, Day-ton, OH 45469-1549; <www.udayton.edu/nehinstitute2006>.

James Biery’s organ composition,Elegy, recently released by MorningStarMusic Publishers, was commissioned for“Celebrating the Organ,” a conferenceheld in Tucson, Arizona in March 2005in tribute to the late University of Ari-zona professor Roy Andrew Johnson, Jr.,A.Mus.D., AAGO, (1936–1995). PamelaDecker gave the premiere performanceon March 5, 2005 at Grace St. Paul’sEpiscopal Church in Tucson. Elegy is apassacaglia based on a theme composedby Biery to accompany the statement ofthe Swedish tune Tryggare Kan IngenVara (the much loved Swedish hymn,“Children of the Heavenly Father”) andreflects on Johnson’s life and legacy, hisabiding faith and his ethnic heritage.

Roy Johnson was professor of organfor 29 years at the University of Arizona,Tucson, and he dedicated his life to per-

formance and teaching. Unassuming,gentle, and kind, he was something of a“hidden jewel” in the southern Arizonadesert as he performed, taught, andguided students—always with a word ofencouragement and a smile—in hiswork as Professor of Music and Directorof Graduate Studies in Music.

A lifelong church organist, Roy John-son touched the lives of countless peo-ple through his sensitive service playing.On February 28, 1995, Professor John-son became the victim of a random vio-lent homicide as he returned homefrom a University School of Music Fac-ulty Showcase performance.

Paul Collins is the author of a newbook, The Stylus Phantasticus and FreeKeyboard Music of the North GermanBaroque, published by Ashgate Publish-ing (www.ashgate.com). The book sur-veys the development of AthanasiusKircher’s original concept and its influ-ence on music theorists such asBrossard, Janovka, Mattheson, andWalther. Turning specifically to fanta-sist composers of keyboard works, thebook examines the keyboard toccatas ofMerulo, Frescobaldi, Rossi andFroberger and their influence on northGerman organists Tunder, Weckmann,

RONALD CAMERON BISHOPConsultant

Pipe OrgansDigital EnhancementsAll-digital Instruments

8608 RTE 20, Westfield, NY 14787-9728Tel 716/326-6500 Fax 716/326-6595

Reincken, Buxtehude, Bruhns, Lübeck,Böhm, and Leyding.

Paul Collins lectures in music at MaryImmaculate College, University of Lim-erick. He is a graduate of Trinity Col-lege, Dublin, and holds a first class hon-ors MA (Performance and Musicology)and a PhD from the National Universityof Ireland, Maynooth. He studied organand harpsichord at the Dublin Instituteof Technology Conservatory of Musicand Drama, where he was awarded theActors’ Church Union Prize foradvanced organ playing. He has per-formed in Ireland, the U.S. and Italy,and in addition to his activities as a musi-cologist and performer, he has writtenkeyboard, vocal, and chamber music.

Martin Haselböck conducts a worldpremiere recording of the Organ Sym-phony by Johann Herbeck, which wasoriginally written for the Ladegast organin the Vienna Musikverein in 1877. Thisvery first organ symphony was writtenten years before the famous sister pieceby Saint-Saëns, but was never per-formed due to the sudden death of thecomposer after the first rehearsal withthe Vienna Philharmonic. The lushromantic sounds of Herbeck’s orches-

tral writing reflect his position as themajor conductor of the 19th century inVienna, and his close ties to bothBrahms and Bruckner. In this recordingMartin Haselböck conducts the Ham-burg Symphony with Irenée Peyrot,organist, performing on the Beckerathorgan opus 1 in the Hamburg-Harburgconcert hall. The recording is releasedon the German NCA label. MartinHaselböck is represented in the UnitedStates by Karen McFarlane Artists, Inc.

Dan Locklair’s organ works areavailable from Subito Music. His worklist includes Celebration (Variations forOrgan), “Ere long we shall see . . .”(Concerto Brevis for Organ and Orches-tra), Fanfare, In Gold and Black (A Pro-cessional), In Mystery and Wonder(The Casavant Diptych), Pageant forSally, Salem Sonata, Spreckels’ Fancy,The Aeolian Sonata, and Triptych forManuals. For information: <www.subitomusic.com>.

Recent performances of Locklair’smusic include Spreckels’ Fancy, com-missioned in honor of the 90th anniver-sary of the Spreckels Organ in BalboaPark, San Diego, and premiered onJune 20 by Carol Williams; Jubilo, per-

Duquesne University acquires theDavid Craighead Collection ofOrgan Music

Duquesne University has announcedthe acquisition of the David CraigheadCollection of Organ Music. Donated tothe university in 2005, the collectionconsists of David Craighead’s privatelibrary of music books and scores, andincludes much of Craighead’s personalmusic, together with his editing and fin-gering. Some scores are accompaniedby photocopies of pieces that he re-worked and re-edited over the years.There are scores of four-hand reper-toire that he performed with his wife,Marian Reiff Craighead, and evenscores of pieces played by David’smother, Fay Stinson Craighead, duringher student days. David Craighead wasrecognized by Duquesne Universitywith an honorary doctorate in 2005 andhas served as Adjunct Professor ofOrgan at Duquesne since the summerof 1996.

Registration was one of the significantdifferences from the kind of main-stream playing one might hear todayand the way Craighead performed as astudent. His score of the Bach Preludeand Fugue in B Minor, which he studiedwith Alexander McCurdy at the CurtisInstitute of Music in Philadelphia(1942–1946), contains indicationsregarding use of the combination actionas well as swell box and crescendopedal. At his 1946 commencement,Craighead recalled playing Bach’sSchmücke dich as the prelude, at whichtime his registration might well have

been something like the Flute Celesteand Unda Maris, soloing out the cantuson the Cor Anglais with tremulant, andchanging to the French Horn for therepeated section.

Duquesne University holds among itsstacks six other collections of sacredmusic:

1. The Paul Harold Collection ofOrgan Music

2. The Boys Town Collection ofSacred Music (includes many rare chantbooks)

3. The Paul Koch Collection of OrganMusic

4. The Jean Langlais Collection—donated by Allen Hobbs (contains manyscores owned and autographed byCharles Tournemire, including hisscores of Franck’s organ works withTournemire’s markings, and also Alkanpiano scores autographed by CésarFranck. Rollin Smith’s book Playing theOrgan Music of Cesar Franck containsan appendix dealing with this collec-tion.)

5. The Richard Proulx Collection ofOrgan and Choral Music

6. The Edmund Shea Collection ofEarly Music

These collections will serve not onlyDuquesne’s present and future organstudents, but also all scholars who areinterested in organ performance prac-tice of the 19th and 20th centuries, newmusic from many sources, and animmense collection of music and books.

—Andrew Scanlon, AAGOAdjunct Professor of Organ at

Duquesne University

Johan Hermans, BelgiumSylvia Chai Marek Kudlicki, Poland

Joseph Nolan, Great BritainArthur LaMirande Bart Rodyns, Belgium

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PEDAL32 Contre Violone16 Subbass16 Lieblichgedackt (Sw) 16 Violone (Gt) 16 Erzähler (Ch) 8 Oktav8 Gedackt (Sw) 8 Offenflöte4 Choralbass4 Offenflöte

Mixture IV32 Contre Fagott16 Posaune8 Trompette4 Rohrschalmei

MIDI On Pedal

SWELL16 Lieblichgedackt8 Gamba8 Gambe Celeste8 Hohlflöte4 Principal4 Nachthorn2 Fifteenth

Plein Jeu IV16 Fagott8 Trompette en chamade (Gt) 8 Trompette8 Hautbois4 Clairon

TremulantUnison Off

16 Swell4 Swell

MIDI On Swell

GREAT16 Violone8 Prinzipal8 Violone8 Rohrflöte4 Oktav4 Waldflöte2 Doublette

Fourniture IVSesquialtera II

8 Trompette en chamade8 Trumpet

TremulantChimesMIDI

CHOIR8 Prinzipal8 Erzähler8 Erzähler Celeste8 Holzgedackt4 Prestant4 Koppelflöte

2 2/3 Nazard2 Blockflöte

1 3/5 Tierce1 1/3 Larigot

Zimbel III8 Krummhorn

TremulantUnison Off

16 Choir4 Choir

MIDI On Choir

COUPLERS8 Great To Pedal4 Great To Pedal8 Swell To Pedal4 Swell To Pedal8 Choir To Pedal4 Choir To Pedal

16 Swell To Great8 Swell To Great4 Swell To Great

16 Choir To Great8 Choir To Great4 Choir To Great

16 Swell To Choir8 Swell To Choir4 Swell To Choir

Gt-Ch Manual Transfer

SHIPPENSBURG UNIVERSITYSHIPPENSBURG, PENNSYLVANIA

The combination three-manual pipe and digital instrument recently installed inShippensburg University’s Cora I. Grove Spiritual Center and Interfaith Chapel controls 58 digital stops and 6 new pipe ranks, including a brass Trompette en chamade.

The console features rosewood drawknob stems, manual sharps, and pedal sharps. The organ’s entire complement of pipes and speakers is integrated seamlessly in one central location. Three different console plug-in locations provide additional versatility.

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8 THE DIAPASON

Dan Locklair

formed by Quentin Faulkner on July 9at Schlosskirche in Wittenberg, Ger-many; Voyage—A Fantasy for Organ,performed by James Kibbie at the AGORegion V convention in Grand Rapids;Ayre for the Dance and “The peace maybe exchanged” (Rubrics), played byRobert Gant at the Piccolo Spoleto Fes-tival in Charleston, South Carolina; andGloria for double choir, brass, and per-cussion, at the First United MethodistChurch, Birmingham, Alabama, on May1. Locklair’s Rubrics is featured on anew recording by Thomas Trotter enti-tled Sounds Phenomenal, recorded onthe Klais organ at Birmingham Sympho-ny Hall in England. For information:<www.locklair.com>.

Lee Orr has edited a new volume,Dudley Buck: American VictorianChoral Music, in the Music of the Unit-ed States of America series, vol. 14,Recent Researches in American Music,vol. 53, published by A-R Editions,Madison, Wisconsin (ISBN 0-89579-573-6, $195.00). The works chosen forthis volume represent the three mostpopular choral genres during the Gild-ed Age: the anthem, the sacred and sec-ular cantata, and the partsong. Includedare Buck’s Rock of Ages, Festival TeDeum No. 7 in E-flat, Grant to Us ThyGrace, partsongs, The Forty-Sixth

Psalm, and other works. For informa-tion: <www.areditions.com>.

The American Guild of Organists willpresent its Distinguished ComposerAward to Richard Proulx at its annualmeeting on Monday, July 3, 2006, inChicago. Proulx has also been commis-sioned to write a new choral anthemwith obbligato instrument, which will bepremiered at the AGO National Con-vention in Chicago.

Richard Proulx is a widely publishedcomposer of more than 300 works,including congregational music, sacredand secular choral works, song cycles,two operas, and instrumental and organmusic. He served as consultant for TheHymnal 1982, the New Yale Hymnal,the Methodist Hymnal, Worship II andIII, and has contributed to the Mennon-ite Hymnal and The Presbyterian Hym-nal. He has conducted choral festivalsand workshops across the country andabroad.

Proulx was appointed composer-in-residence for 1994–1995 at the Cathe-dral of the Madeleine in Salt Lake City,and was a visiting fellow at the Seminaryof the Southwest in Austin. Currentlyworking as a freelance composer andconductor, he has also been an editorialconsultant.

From 1980 to 1994, Proulx was organ-ist–music director at the Cathedral ofthe Holy Name in Chicago. Before com-ing to Chicago, Proulx served for tenyears (1970–1980) at St. ThomasChurch, Medina/Seattle, where hedirected three choirs and a chamberorchestra, established a tradition of litur-gical handbell ringing, and was organistat Temple de Hirsch Sinai. Previouspositions included St. Charles Parish,Tacoma; St. Stephen’s Church, Seattle;and 15 years (1953–1968) at the Churchof the Holy Childhood in St. Paul.

Christa Rakich is featured on a newrecording on the Loft label (LRCD1078-1079). The two-CD set includesthe complete Leipzig Chorales of J. S.Bach, recorded on the C. B. Fisk organ

Christa Rakich

at Old West Church, Boston, and thePaul Fritts organ at Pacific LutheranUniversity in Tacoma. The booklet con-tains program notes by Rakich as well asorgan specifications and registrations.For information: <www.gothicrecords.com>.

Parker Ramsay, 14-year-old organ-ist, pianist, harpist and composer, wasinvited by Michael Velting, organist andchoirmaster of Christ Church Cathe-dral, Nashville, Tennessee, to performthe pre-Evensong organ concert onNovember 6, 2005. Ramsay was intro-duced to organ study at the Pipe OrganEncounter (POE) in July 2003, inAthens, Ohio. In September 2003, hebegan organ study with Dr. WilmaJensen, Organist-Choirmaster Emeritaof St. George’s Episcopal Church,Nashville.

Ramsay has studied under the guid-ance of the London-based AssociatedBoard of the Royal Schools of Music(ABRSM). A comprehensive syllabusthat includes vast repertoire choices,sightreading, aural training, scale andarpeggio study, and written music theo-ry is published for the eight preparatorygrades of each instrument. In Decem-ber 2005, he was awarded highest hon-ors for Grade 8 performance examina-tions in organ, harp and piano.

Parker Ramsay serves as principalharpist of both the Nashville CurbYouth Symphony and the Middle Ten-nessee State University Orchestra. Hestudies harp with Carol McClure, andhas been a winner in the Music Teach-ers National Association (MTNA) com-position competitions. In 2005, hisReformation Suite for Harp and Organwas premiered for the Greensboro,North Carolina AGO chapter by harpistSally Duran.

The organ recital at Christ ChurchCathedral included the following reper-toire: Incantation pour un jour saint,

Jean Langlais; Trio on “Herr JesuChrist,” BWV 655, Bach; Adagio fromSymphonie II, Widor; Choral in Aminor, Franck.

Wesley Roberts plays a number ofrecitals this spring: March 12, Neigh-borhood Unitarian Universalist Church,Pasadena, California; 3/14, St. MonicaParish Community, Santa Monica, Cali-fornia; 3/15, Cathedral of Our Lady ofthe Angels, Los Angeles, California;3/26, Gethsemani Abbey, Trappist,Kentucky; and April 19, Trinity Episco-pal Church, Covington, Kentucky.

Kathleen Scheide, organ professorat Henderson State University, andZofie Vokálková, flute professor atPrague Conservatory, toured the Amer-ican South last fall with programs forthe Pro Mozart Society of Atlanta,Georgia; Hot Springs, Arkansas FluteChoir; Henderson State University,Arkadelphia, Arkansas; and Northwest-ern State University, Natchitoches,Louisiana. Scheide played harpsichordat Henderson, where the duo was joinedby cellist Felice Farrell. Each programincluded works by Czech composersBarabas, Benda, Eben, and Gluck, aswell as Handel and Mozart. As Ensem-ble Due Solisti, Vokálková and Scheidehave toured Europe and North Ameri-ca. Their compact disc, W. A. Mozart inPrague, is available on the Dutch labelHLM. Inquiries may be directed to<duesolisti@duesolisti.com>.

On January 14 and February 11,Craig Smith, reviewer of classicalmusic, theater and dance for The SantaFe New Mexican and writer for itsweekly arts magazine, Pasatiempo, pre-sented a workshop titled “The Organand the Opera” at St. Paul LutheranChurch, Albuquerque and St. Bede’sEpiscopal Church, Santa Fe, respec-tively. Mr. Smith discussed the historyof the organ in opera, the instrumentsin opera houses around the world, andthe use of organ in opera scores. Organexcerpts were played by Beverly Pettit,organist at St. Paul Lutheran Church,Albuquerque. Pictured in the photofrom left to right: Fritz Frurip, dean ofthe Albuquerque AGO, Beverly Pettitand Craig Smith.

Michael Velting, Parker Ramsay, andWilma Jensen (photo by Harry Butler)

Kathleen Scheide and Zofie Vokálková

Fritz Frurip, dean of the AlbuquerqueAGO, Beverly Pettit and Craig Smith(photo by Maxine Thevenot)

GRAND ORGUEMontre 16'

Violonbasse 16'Bourdon 16'

Montre 8'Dulciana 8'Prinzipal 8'

Viole de Gambe 8'Flûte Harmonique 8'

Bourdon 8'Chimney Flute 8'

Quinte 5-1/3'Prestant 4'Oktav 4'Flûte 4'

Solo Flute 4'Tierce 3-1/5’Quinte 2-2/3'Doublette 2'Octavin 2'

Tierce Fourniture IV-VICornet V

Tierce 1-3/5'Fourniture XICymbale IV

Bombarde 16'Trompette 8'Trumpet 8'Clairon 4'Tremblant

POSITIFQuintaton 16'Bourdon 16'Erzähler 16'Principal 8'

Flûte de Bois 8'Holzgedackt 8'

Unda Maris II 8'Viole Céleste II 8'

Prestant 4'Flûte d’amour 4'Koppelflöte 4'Nazard 2-2/3'Doublette 2'Octavin 2'

Tierce 1-3/5'Larigot 1-1/3'

Septieme 1-1/7'Piccolo 1'

Sesquialtera IIGrave Fourniture IV

Cymbale IVJeu de Clochette II

Basson 16'Corno di Bassetto 16'

Trompette 8'Dulzian 8'

French Horn 8'Clarinette 8'Cromorne 8'

Chamades II 8'Tuba Anglais 8'

Chamade 8'Petite Clairon 4'Rohrschalmei 4'

TremulantOctaves Graves 16'

MuetOctaves Aiguës 4'

RÉCITBourdon Doux 16'Contre Gambe 16'

Diapason 8'Gambe 8'

Voix Céleste 8'Bourdon 8'

Flûte Harmonique 8'Flûte Céleste II 8'

Octave 4'Unda Maris II 4'

Flûte Traversière 4'Nazard 2-2/3'

Octavin 2'Choeur Fourniture V

Cymbale IIITierce 1-3/5'Plein Jeu IV

Cymbale IIIContra Bassoon 32'

Contra Trompette 16'Basson 16'

Trompette 8'Trumpet 8'

Hautbois (mp) 8'Hautbois (mf) 8'Cor d’Amour 8'

Orchestral Oboe 8'Clarinette 8'

Voix Humaine 8'Clairon 4'Tremulant

Octaves Graves 16'Muet

Octaves Aiguës 4'

BOMBARDEGrand Diapason 8'

Flûte Majeur 8'Cellos Célestes II 8'

Soprano Ah 8'Grand Octave 4'Grand Jeu VII

Grave Mixture IVBombarde 16'

Corno di Bassetto 16'Trompette Harmonique 8'

French Horn 8'Chamade 8’

Tuba Anglais 8'Cor Anglais 8'

Clairon Harmonique 4'Chamades 16+8+4+2 IV

PÈDALEMontre 32'

Contra Violone 32'Contre Bourdon 32'Bourdon Doux 32'Contre Basse 16'

Principal 16'Contre Gambe 16'

Subbasse 16'Bourdon (G.O.) 16'

Violone 16'Gambe Celestes II 16'Quintaton (Pos) 16'

Bourdon Doux (Rec) 16'Erzähler 16'Montre 8'

Prinzipal (G.O.) 8'Violoncelle 8'

Cellos Céleste II (Bomb) 8'Unda Maris II (Pos) 8'

Flûte 8'Bourdon (Rec) 8'

Octave 4'Cor de Nuit 4'Fourniture IV

Ophicleide Heroique 64'Contre Bombarde 32'

Contra Basson 32'Bombarde 16'

Basson (Rec) 16'Trombone 16'

Corno di Bassetto 16'Contre Trompette 16'

Bombarde 8'Chamade (Pos) 8'

Tuba Anglais (Pos) 8'Trompette 8'Trumpet 8'Clairon 4'

Rohrschalmei (Pos) 4'Zink 2'

Some of the stops on

Hector Olivera’snational tour

Some of the stops on

Hector Olivera’snational tour

The Masterpiece Touring Organ by RodgersThe Virgil Fox Tradition Continues

Rodgers Instruments LLC1300 NE 25th AvenueHillsboro, Oregon 97124503.648.4181fax: 503.681.0444www.rodgersinstruments.comEmail: marketing@rodgers.rain.com

10 THE DIAPASON

Scottt Sward was killed during arobbery attempt at his home in Chicagoon January 25. Sward, 43, had served asdirector of music ministry at St. JosephCatholic Church, Libertyville, Illinois,since October 2003. Born in Chicago,he grew up in Virginia Beach, Virginia.He received a bachelor of music degreefrom East Carolina University and in1986 was appointed Catholic organist atthe Naval Amphibious Base, Norfolk.Later he became chapel organist, thenCatholic music director and principalcantor, and finally chapel music directorand organist for the NAB Chapel. Therehe directed two adult choirs, a chil-dren’s choir, a handbell choir, an instru-mental ensemble, and a schola canto-rum. He also served as pianist and can-tor for the Catholic campus ministries atOld Dominion University in Norfolk.Sward wrote five mass settings, choirarrangements, anthems and psalm set-tings. A memorial Mass was celebratedat St. Joseph Parish on February 3.

Here & There

Bärenreiter-Verlag announces newreleases. In time for the Mozart year,study scores of all the piano concertos,in a slipcase (TP 602), are priced at 99euros throughout 2006 (124 eurosthereafter). The collection includes the27 original concertos plus the seven“pasticcio concertos” that Mozart wroteas a boy, with reproductions of all thefragments, conflicting versions, sketch-es, and alternative cadenzas. A new edi-tion of Bach’s Italian Concerto, BWV971, edited by Walter Emery, includespiano fingerings by Renate Kretschmar-Fischer, with a detailed introduction(BA 5244, 6.95 euros). Vol. III/1 in theComplete Organ and Keyboard Worksof Jan Pieterszoon Sweelinck, edited bySiegbert Rampe, presents chorale andpsalm settings, and many facsimiles (BA8485, 34.95 euros), with a detailed pref-ace and critical report covering sourcesand performance practice. Vol. II ofThéodore Dubois Complete OrganWorks, edited by Helga Schauerte-Maubouet (BA 8469, 44.95 euros), con-tains pieces for three-manual organ. Forinformation: <www.baerenreiter.com>.

Pro Organo has announced therelease of new recordings. LemareAffair III (CD 7117) features FrederickHohman playing original organ worksand transcriptions by Lemare on theKotzschmar Memorial Organ at Port-land City Hall.

Lyrique Mystique (CD 7125) fea-tures John Ayer playing the Berghausorgan at St. Stephen’s EpiscopalChurch, Wilkes-Barre, Pennsylvania, inworks by Ayer, Mendelssohn, Tourne-mire, Franck, Vaughan Williams,Bridge, Christiansen, and Diemente.

David Briggs Live! (CD 7176) fea-

tures the organist in concert on theMuller organ at Trinity EpiscopalCathedral, Little Rock, Arkansas, play-ing works by Bach, Liszt, Mendelssohn,Duruflé, and an improvisation.

Sing to the Lord New Songs! (CD7178) features the Choir of St. Paul’sEpiscopal Church, Indianapolis, Indiana,the Indianapolis Pro Musica, Frank W.Boles, director, Edie Johnson, organist,in 22 selections by Boles, Martinson,Ferko, Chilcott, Hurd, Delong, andLocklair. A Day for Rejoicing (CD 7191)also features the Choir of St. Paul’s Epis-copal Church, Indianapolis, in an anthol-ogy of sacred music by Frank Boles.

Ave Maria: Music in Honor of theBlessed Virgin Mary (CD 7193) fea-tures the Notre Dame Basilica Schola,Notre Dame Women’s Liturgical Choir,and Notre Dame Liturgical Choir, GailWalton and Andrew McShane, direc-tors, in 21 selections by di Lasso,Poulenc, Villette, Willan, Rheinberger,Parsons, Palestrina, and de Victoria.

Christmas Holidays (CD 7194) fea-tures the Vocal Arts Ensemble ofCincinnati, Earl Rivers, music directorand conductor, in 21 selections byMechem, Paulus, Dawson, Lawson,Samuelsson, Ferko, Dering, Tavener,Palestrina, Houkom, and Sametz.

Organa Americana (CD 7196) fea-tures Tom Trenney playing works byWilson, Shearing, Buck, Phillips, Miller,Paulus, Connor, Ives, and an improvisa-tion, on the Schantz organ at St. Peter’sEpiscopal Church, Savannah, Georgia.

Blasts from the Century Past (CD7197) features David Heller playingworks by Bonnet, Bridge, Yon, Vierne,Hindemith, Barber, Albright, Persichet-ti, and Phillips on the Rosales organ atTrinity Episcopal Cathedral, Portland,Oregon.

In the Old World and the New (CD7198) features Claudia Dumschat play-ing the Fisk organ, op. 92, at the Churchof the Transfiguration, New York City, inworks by Mozart, Buxtehude, Sweelinck,Bach, Rorem, Tower, Dupré, and Ives.

Christmas on Fifth Avenue (CD7200) features the Choir of St. ThomasChurch, New York City, directed byJohn Scott, in 20 selections by Will-cocks, Woodward, Gardner, Ord, How-ells, Hancock, Bassi, Praetorius, Pres-ton, Scott, Rutter, and Mathias.

For information: <www.zarex.com>.

Gloriae Dei Cantores is featuredon a new recording, Joy and Gladness,on the Paraclete Press label. The CDincludes a collection of favorite anthemsof celebration, from Palestrina’s JubilateDeo to Mathias’s Alleluia. For informa-tion: <www.paracletepress.com>.

Allen Organ Company, with theassistance of Chopin Music (Allen’s rep-resentative for Lagos), recently installeda Quantum Q405 four-manual, 79-stopinstrument in Holy Cross Cathedral,Lagos, Nigeria. Located on the South-ern coast of Nigeria in western Africa,Lagos is known for its large amount ofcommerce. Holy Cross is a large, down-town parish in this city of over10,000,000 people. The new Allen main

organ speaks from an area high abovethe cathedral floor and from behind thereredos wall. The organ also provides afull antiphonal complement that speaksfrom the cathedral’s gallery, and allowsall of the organ’s divisions to speak fromeither or both ends of the nave. Thededication for the Quantum Q405 washeld on December 11, 2005. For infor-mation: <www.allenorgan.com/>.

In the wind . . .by John Bishop

“Won’t you be my neighbor?”Do you associate a tune with that sen-

tence? The cardigan sweater, the sneak-ers, the catchy melody, and the slightlyoff-pitch singing are all icons for thechildren of baby boomers—those whogrew up watching Mr. Rogers’ Neigh-borhood. I picture a quiet suburban cul-de-sac with ranch houses, station wag-ons parked on concrete driveways, bicy-cles on their sides in the tree lawns, kidsbeing sent next door to borrow a cup ofsugar, and maybe a spinet piano coveredwith framed photos. Fred Rogers didhis best to teach our children and ushow to be good friends and neighborsover the airways of Public Television.

There’s an eight-rank Aeolian resi-dence organ in my workshop right now,Opus 1014, built in 1906 for the home ofJohn Munro Longyear in Brookline,Massachusetts. Mr. Longyear discov-ered huge mineral deposits in the UpperPeninsula of Michigan, acquired vasttracts of land, and made a fortune bring-ing the ore to market. He and his wifeMary were devoted students of ChristianScience, and they moved to Boston in1901 where Mary Longyear became aclose friend of Mary Baker Eddy, thefounder of Christian Science. Followingtheir deaths, their home was left to afoundation in their name that developedthe building and grounds into a museumabout Christian Science.1 After themuseum closed in 1998, the estate waspurchased by a developer who built acommunity of condominium residenceson the site. The Organ Clearing Houseacquired the organ in the summer of2005, helping the developers createspace for a fitness center.

This is a terrific organ, complete with

a 116-note roll-player, the famed auto-matic device that plays the organ usingpaper rolls. Spending a few months withan organ like this gives one great insightinto the standards of a legendary com-pany. In the last years of the nineteenthcentury, Aeolian began building a list ofclients that reads like Who’s Who of thehistory of American corporations. Aeo-lian didn’t get such a good name by acci-dent—their organs are beautifully madeand uniquely conceived as the last wordin personal luxury of their day. The ideathat a pipe organ like this would be con-sidered a must-have furnishing in agrand house has captivated me, andwith the help of a smashing book I’veformed a picture of a neighborhood thatwould knock Mr. Rogers’ socks off.

Rollin Smith’s The Aeolian PipeOrgan and Its Music was published bythe Organ Historical Society in 1998 andis available through their catalogue. Goto <http://shop.store.yahoo.com/ohscatalog/smitaeolpipo1.html> and buy acopy or two. I took quite a bit of grief athome when my wife realized that thebook I was chuckling over was about res-idence pipe organs, but when I read hera couple passages my point was made.Mr. Smith understands that the heritageof the Aeolian Company is somethingvery special, and he has told us all aboutit. The book contains plenty of factsabout the company’s history. The storiesabout the early twentieth-century organ-ists who played on, composed for, andrecorded on the Aeolian Organ form afascinating picture of the styles andopinions of early twentieth-century vir-tuosi—many of whose names are famil-iar to us today. The importance of theAeolian Organ as documentation of aschool of playing is unequaled—remem-ber that the phonograph was primitive inthose days—and the Aeolian rolls areamong the earliest accurate recordingsof such masters as Marcel Dupré,Clarence Eddy, and Lynwood Farnam.An example of the accuracy of this musi-cal documentation is found on page 227,where Mr. Smith provides a comparisonof the first eight measures of the score ofthe Daquin Noël with a reprint to scaleof the same passage as recorded on theAeolian roll by Dupré. By looking at thelength of the notes on the roll, an organ-ist familiar with piece can see clearly thatDupré clipped the first note of the pieceshort and accented the second (fourthbeat of the measure), that he added alow D in the left hand on the fourth beatof the fourth measure (not in the score!),and that he started his trills on the lowernote. What a lot of historical informationto get from a few dots on a page.

Mr. Smith emphasizes the impor-tance of this documentation by quotinga statement made by Charles-MarieWidor in 1899:

How interesting it would be if it werepossible for us to consult a phonographfrom the time of Molière or an Æoliancontemporary with Bach! What uncertain-ties and errors could be avoided, forinstance, if the distant echo of theMatthäus-Passion, conducted by the com-poser, could still reach us.

Is it not truly admirable to be able to

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Nunc Dimittis

Allen Quantum Q405 at Holy CrossCathedral, Lagos, Nigeria

12 THE DIAPASON

record the interpretation of a musicalwork with absolute exactitude and to knowthat this record will remain as an unalter-able document, a certain testimony, rigor-ously true today, which will not changetomorrow—the quintessential interpreta-tion that will not vary for all eternity?2

But enough about the organists—it’sthe patrons that got me going. One ofthe book’s appendices is an alphabeticallist of those who purchased Aeolianorgans (page 384). Another is an OpusList that includes the street addresses ofAeolian installations (page 319). Pub-lished lists don’t always make goodreading, but when I started flippingback and forth between these two Istarted humming Mr. Rogers’ neighbor-hood song while in effect reading theManhattan phone book!

With the help of these lists, I’ve imag-ined a walking tour of some very specialresidences, all home to Aeolian organs.Let’s start on the corner of Fifth Avenueand East 92nd Street in Manhattan.Central Park is on the west side of Fifth.When we stand with our backs to thePark we’re looking at the home of FelixWarburg. Mr. Warburg was in the dia-mond business, and was one of NewYork’s most enthusiastic musicalpatrons, serving as a member of theboard of directors of both the Metropol-itan Opera and the Philharmonic Soci-ety. In the 1930s he rescued manyprominent Jews from Germany and sup-ported the emigration of musicians suchas Yehudi Menuhin and Jascha Heifetz.3Mr. Warburg’s Aeolian organ (Opus1054, II/22) was installed in 1909.

We walk south to 90th Street to findthe residence of Andrew Carnegie.Inside is Aeolian’s Opus 895 with threemanuals and 44 ranks, built in 1900.4Mr. Carnegie, founder of the CarnegieSteel Corporation of Pittsburgh, Penn-sylvania, was an active philanthropistwhose generosity resulted in what isnow Carnegie-Mellon University. Hisfoundation was responsible for the con-struction of 2,509 public librariesthroughout the English-speakingworld.5 And since Mr. Carnegiebelieved that “music is a religion,” theCarnegie Organ Fund gave millions of

dollars in matching grants to help buildmore than 8,800 pipe organs.6 Walter C.Gale was organist to the Carnegie fami-ly for seventeen years, arriving at thehouse at seven o’clock every morningthey were in town. Mrs. Carnegie kept alog book of their Atlantic crossings inwhich she wrote about their return fromLiverpool on December 10, 1901, dri-ving directly to their new home to find“Mr. Gale playing the organ and thegarden all covered in snow.”7

One door south from Mr. Carnegie isthe residence of Jacob Ruppert8, brew-ing magnate (Knickerbocker Beer) andowner of the New York Yankees. Unfor-tunately Mr. Ruppert’s was not the com-plete household—no Aeolian organ. Stillheading south, we cross East 89th Streetand pass the Guggenheim Museum.

At 990 Fifth Avenue (at 80th Street—two blocks south of the MetropolitanMuseum of Art) we find the residence ofFrank W. Woolworth who nickel-and-dimed himself into prominence with achain of stores bearing his name. Mr.Woolworth was one of Aeolian’s bestcustomers. His first instrument was #874(II/16, 1899). In 1910 the organ at 9905th Avenue was enlarged to three manu-als and 37 ranks (Opus 1144). But whylimit yourself to just a city organ? Mr.Woolworth installed Opus 1318 (II/23,1915) in his second residence, which hecalled Winfield (his middle name) inGlen Cove (Long Island), New York.Winfield was destroyed by fire in 1916but fortunately for the local trades andfor the Aeolian company, it was rebuiltat three times the original cost, and Mr.Woolworth bought his fourth and largestAeolian organ, Opus 1410 (IV/107).9Installed in 1918, this grand organincluded the first independent 32 Dia-pason in an Aeolian residence organ.10

Frank Woolworth was one of Aeo-lian’s few patrons who could actuallyplay the organ. He was wholly devotedto Aeolian organs, to the company, andto the music it provided. His contract forOpus 874 included 50 rolls of his choos-ing and free membership in the AeolianMusic Library for three years to includean average of twelve rolls per week.11

When mentioning Aeolian rolls, it’sinteresting to note that in 1904 the priceof the roll-recording of Victor Herbert’sSymphonic Fantasy was $9.25 and aworker in the Aeolian factory earned $11per week.12 Frank Taft, art director ofthe Aeolian Company, was one of Wool-worth’s close friends. It was Mr. Taftwho played the organ for Woolworth’sfuneral at his home at 990 Fifth Avenue(Opus 1144) in April of 1919.13

Our tour continues six blocks south tothe home of Simon B. Chapin at Fifthand 74th. I wouldn’t have recognizedMr. Chapin’s name without having hadan encounter with his “country organ”several years ago. Mr. Chapin was a suc-cessful stockbroker. Among other pur-suits, he invested his immense personalwealth in large and successful real estateventures. Most notable among thesewas his partnership with Franklin Bur-roughs in the development of MyrtleBeach, South Carolina into a popularresort. The firm of Burroughs & Chapin

developed the Seaside Inn (MyrtleBeach’s first oceanfront hotel), and thelandmark Myrtle Beach Pavilion. Thenew shopping district was anchored bythe Chapin Company General Store,and to this day Burroughs & Chapin is aprominent real estate developmentcompany. He built a lakefront vacationhome in Lake Geneva, Wisconsin in1898, about 75 feet from the shore. Thehouse presents a 115-foot façade thatincludes a 55-foot screened porch. Aeo-lian’s Opus 1000 (II/18) was installedthere in 1906. He must have beenpleased with the instrument becausethat same year he purchased a two-man-ual instrument with 15 ranks for hishome on Fifth Avenue (Opus 1018).14

One block further south on FifthAvenue and a couple doors east on 73rdStreet we find the home of newspaperpublisher Joseph Pulitzer where Aeo-lian’s Opus 924 (II/13) was installed in1902. Edward Rechlin was organist tothe Pulitzer family, playing from 9:30 to10:00 each evening they were in town.He was paid $20 an evening and $25 fora family wedding.15

Keep going east on 73rd Street, turnright on Madison and walk one blocksouth to East 72nd and you’ll find thehome of Louis Comfort Tiffany. Nowthis guy knew something about qualityof design, and the folks at Aeolian musthave been very pleased when Mr.Tiffany contracted for Opus 925 (II/12)in 1902. And once again, a city organwasn’t enough—Aeolian’s Opus 1146(II/27) was installed at Tiffany’s secondhome in Cold Spring Harbor, New Yorkin 1910.16

By the way, Mr. Tiffany’s apprecia-tion of the Aeolian organ was shared byhis clients. The Dodge brothers, Horaceand John, started their career buildingautomobile chassis for the Ford MotorCompany. It didn’t take them long torealize that they would make moremoney building entire cars, and theyformed the company that still bearstheir name. They each had large Aeolianorgans in their Michigan residences.Horace’s first organ was Opus 1175(II/15) and his second was Opus 1319(IV/80). John’s only Aeolian was Opus1444 (III/76). Perhaps Horace wasthreatened by his brother catching upbecause in 1920 he purchased Opus1478. With two manuals and 16 ranks,this organ was not so impressive byitself, but its setting certainly was. It wasinstalled in his steam-powered yacht,the Delphine. The Delphine was 257feet long, had five decks and a crew of58, and its interior appointments weredesigned by Louis Tiffany. The organwas installed across from the fireplace inthe walnut-paneled music room.17 It’sfun to imagine Mr. Tiffany and Mr.Dodge sharing their appreciation of theAeolian organs at Tiffany’s drawingboard over snifters of cognac.

From Louis Tiffany’s house, we walktwo blocks south on Madison Avenue,then back west to Fifth Avenue, to thehome of Henry Clay Frick, anothersteel industrialist from Pittsburgh. TheFrick family moved to New York in1905 and rented the William H. Van-derbilt residence on Fifth Avenue atEast 51st Street (no organ). During thisperiod they built a vacation home atPride’s Crossing, Massachusetts, andAeolian Opus 1008 (III/44) wasinstalled there in 1906. Once that housewas complete, the Frick family startedbuilding their own home in Manhattanat One East 70th Street, on the cornerof Fifth Avenue, opposite Central Park.This home was graced by Aeolian 1263(IV/72), which was shipped from thefactory in March of 1914. Mr. Frick alsodonated an Aeolian organ (Opus 1334,IV/64) to Princeton University in 1915,where it was installed in Proctor Hall ofthe Graduate College.18

Music for Voices and Organby James McCray

The bb e s t o f the European tradi tion

Proudly made in America

1 0 0 3 B a r n w o o d L a n e

C a m i l l u s , N e w Y o r k 1 3 0 3 1

( 3 1 5 ) 7 5 1 - 0 5 0 5w w w . l e w t a k o r g a n . c o m

Carnegie organ (courtesy Rollin Smith)

Schwab console (courtesy Rollin Smith)

We’ve walked 24 blocks, and I’d liketo show you one other organ. It’s a littletoo far to walk so we’ll take a cab.Charles Schwab, the first president ofU.S. Steel, built his West Side home tooccupy the entire block between 72ndand 73rd streets on Riverside Drive.With 90 bedrooms it was the largest res-idence in Manhattan, but Mr. Schwabstarted small in the Aeolian depart-ment—Opus 961 (1904) had only twomanuals and 33 ranks. Perhaps he wasinspired by his steel colleague Mr. Frickwhen he ordered the enlargement of theorgan (Opus 1032, 1907) to four manu-als and 66 ranks.19 We might imaginethat Frick’s response was to up the antewith Opus 1263 (IV/72). Do you supposethat the man from Aeolian was encour-aging these guys to outdo one another?

Our little tour has taken us past someof Manhattan’s grandest sites. Many ofthe homes I’ve mentioned have beenreplaced by modern high-rise luxurycondominiums, but it’s fun to imagine aday when Fifth Avenue was dominatedby some of the grandest single-familyhomes ever built. What was it about theAeolian organ that excited the interestof this group? What extravagant homefurnishings are available today that cancompare to a $25,000 or $35,000 pipeorgan built in 1910 or 1920? Howeverwe answer those questions, the AeolianCompany got it right for about 30 years.Then came the Great Depression. �

Notes1. http://www.longyear.org/mbl.html2. Smith, Rollin, The Aeolian Pipe Organ and Its

Music, Organ Historical Society, 1998, frontispiece. 3. Ibid, p. 122.4. Ibid, p. 122.5. http://www.carnegie.org/sub/about/biogra

phy.html6. Whitney, Craig, All the Stops, PublicAffairs,

2000, p. 29.7. Smith, p. 242.8. Ibid., p. 122.9. Ibid., pp. 78–79.

10. Ibid., p. 51.11. Ibid., p. 145.12. Ibid., p. 145.13. Ibid., p. 79.14. Ibid., p. 330.15. Ibid., p. 280.16. Ibid., p. 339.17. Ibid., pp. 96–99.18. Ibid., pp. 123–133.19. Ibid., pp. 92–96.

Collections of Vocal Music

O body swayed to music,O brightening glance,How can we know the dancer from the

dance?—W.B. Yeats (1865-1939)

Among School Children, VIII

History suggests that the first book inEnglish printed in America (New Eng-

land) was probably the 1640 edition ofThe Whole Book of Psalmes FaithfullyTranslated into English Metre. Thiscame to be known as The Bay PsalmBook, but it was not until the 1698 edi-tion when it contained printed music—13 melodies to be used in singing thepsalms. Josiah Flagg’s 1764 publication,Collection of the Best Psalm Tunes, con-tained many settings never publishedbefore in America. But probably themost memorable early collection was byWilliam Billings; his 1770 book, TheNew-England Psalm-Singer hadanthems, psalms, and fuging tunes.Billings was possibly the most importantEarly American composer. So, from theearly days of American music, the ideaof using a collection of works was notonly common, but probably the pre-ferred way of publication.

Singing masters appeared. At firstthey were ministers, but later they werespecialists who, because of their limitednumbers, traveled from settlement tosettlement with their songbook andpitchpipe organizing classes in theevenings since they probably had anoth-er trade by day. In 1779 Massachusettsvoted to establish a special place in agallery for “singers,” thus a move to amore formal improvement in the musi-cal life of the early church.

Today, most choruses use the choraloctavo, comfortable in the hand andcontaining the choral parts and accom-paniment, unlike the part-books used inthe Renaissance that only had individuallines (soprano, alto, etc.). Seeing the fullscore makes choral reading consider-ably easier since singers often enterafter long periods of rest.

The number of octavos publishedeach year is immense; however, mostpublishing houses issue only a few col-lections of choral music, and usuallythey are assembled octavos previouslypublished separately. The advantage, ofcourse, is that purchasing individualoctavos is far more costly than buying acollection of them. Currently, octavosaverage about $2.00 each, but a collec-tion brings the price per work down tounder $1.00. However, a director maynot want to program every selection inthe collection because of the text, style,or difficulty of the setting.

The reviews this month featurerecently issued collections. Theyinclude a variety of musical styles. Inthis day of very limited budgets formusic, a collection might be able tostretch those dollars and still provide awide variety of new music for thechurch choir.

A Stanford Anthology, edited byJeremy Dibble. SATB and organ,Oxford University Press, 0-19-386640-4, $17.95 (M/M+).

This excellent collection contains 18anthems and motets by the importantlate-Romantic British composer,Charles Villiers Stanford (1852–1924).There is an extensive editorial introduc-tion that discusses the background ofthese settings and a chart that indicatestheir appropriateness for use in thechurch year. The settings were pub-lished throughout his life, including onepublished posthumously. Two are fordouble choir, some contain solos, andmost use organ accompaniment. Thiscollection is rich in quality and will pro-vide music for diverse church occasionsor for concerts. Highly recommended.

Cantica Nova, no editor given.SATB and organ, Oxford UniversityPress, 0-19-335536-1, $16.95 (M+).

This is a collection of 18 new motetsby contemporary British composersranging from John Rutter to BobChilcott. There is a kaleidoscope ofmusical styles with a wide range ofsonorities and levels of difficulty. Bothaccompanied and unaccompaniedworks are included. All are in Latin withno English translations for perfor-mance; however, the preface includestranslations, composer’s notes on eachsetting, and liturgical use. Most of thepieces are sophisticated and will requiresolid choirs for performance. Excitingnew music.

MARCH, 2006 13

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Weddings for Choirs, compiled andedited by Judy Martin and PeterParshall. SATB and keyboard,Oxford University Press, 0-10-353265-4, $14.95 (M).

There are 40 works in this compila-tion with composers from the Renais-sance to contemporary. Almost allnames are recognizable (Vivaldi,Mozart, Rutter, Mathias, etc.) so thiscollection offers a wide range of musicalstyles that will have immediate appeal tochurch choir use. The introduction hasorganized the music into wedding cate-gories (i.e., Signing the register,Entrance or Exit of the Bride andGroom, the Blessing).

Augsburg Easy Choirbook, Vol.Two, no editor given. Two-to-fourpart with keyboard and some withadditional instruments, AugsburgFortress, 0-8006-7751-X, $9.95(E/M-).

Accessible music for the church yearin various choral settings with many forSAB choir—there are 16 works; someuse oboe, handbells, and other C instru-ments. The separate instrumental partsare free from the publisher with thepurchase of multiple copies of the col-lection. The introduction includes sug-gested uses within the church year foreach of the easy anthems. All of theworks have been published separately.Useful for small church choirs.

ChildrenSing, Mark Patterson.Augsburg Fortress, 0-8006-7769-2,$24.95 (E).

Patterson’s collection includes sevenshort anthems spanning the churchyear. They are designed for children8–12 years old. An interesting feature isthat each piece includes two versions:the complete score with accompani-ment for the director, and a repro-ducible melody-only version for theyoung singer. Tips for teaching musicare also provided for each song. Thispragmatic collection is a very inexpen-sive way of providing music for a chil-dren’s choir through the purchase ofone or two composite books. The musicis easy and set in English.

One Is the Body, John L. Bell.SATB and keyboard, GIA Publica-tions, G-5790, $17.95 (E).

A collection of 50 songs from diverselocations such as Hawaii and the Congo.They are organized into four-part set-tings, some with keyboard, and all con-tain several verses that are printed sep-arately on adjoining pages. Most are inEnglish although those from places suchas Zimbabwe contain the original lan-guage for part or all of the setting. Thesongs are organized into the followingcategories: I, Gathering for Worship; II,The People of God; III, The Word ofGod; IV, Commitment to God. Thismusic is very informal.

Epiphany to All Saints for Choirs,compiled and edited by MalcolmArcher and John Scott. SATB andkeyboard, Oxford University Press,0-19-353026-0, $14.95 (M+).

This excellent collection is subtitled“Anthems for the Church’s Seasons”and contains 50 works from the Renais-sance through today. Popular, familiarcomposers such as Palestrina, Purcell,Rachmaninoff, and Vaughan Williamsare included. The contents are dividedinto seasons in the church year or spe-cial periods within seasons (All SaintsDay, Ascension, etc.), and each has sev-eral different musical settings appropri-ate to that category. The difficulty levelvaries so not all works will be useful tosmaller church choirs, yet the collectionis filled with high quality music through-out. Highly recommended!

Spirits That Dwell in Deep Woods,Wyatt Tee Walker, arr. C. EugeneCooper. Unison/SATB unaccompa-nied, GIA Publications, G-5953M,$25.95 (M-).

This interesting collection has 24“Prayer and Praise Hymns of the BlackReligious Experience, 1885–1925.”Most are in SATB arrangements, usual-ly in a call/response style for a soloistand choir. In addition to standard spiri-tuals such as Keep Your LampsTrimmed and I Wanna Die Easy, thereare many settings that are less familiar.

14 THE DIAPASON

The arrangements are easy, often withseveral verses set strophically. Themusic is based on and taken from WyattTee Walker’s book of the same title.GIA also has all 24 works available on arecording (GIA CD-605).

GladSong Choirbook, no editorgiven. SATB and keyboard, Augs-burg Fortress, 0-8006-7608-4, $9.95(M-).

Contemporary music for the churchyear by 11 composers. Some selectionsare for SAB, unison, or two-part choir,some include additional instruments,and others have optional instrumentaldescants. Familiar titles such as BorningCry and Oh, Come, Oh, Come,Emmanuel are included. This collectionis designed for smaller church choirs.

With All My Heart, Volume 2, PhilKadidlo. Vocal solos with keyboard,Augsburg Fortress, 0-8006-7685-8,$9.95 (M).

Subtitled Spring And Summer, thisset of 12 contemporary vocal solos fea-tures music for that time of the churchyear. Several pieces have obbligatoinstrumental parts, included separatelyat the back of the book. There also is aCD recording of the solos. The music ispragmatic and not difficult. The accom-paniment is relatively easy.

Book Reviews

Thomas Tomkins: The Last Eliza-bethan, edited by Anthony Boden,with commentaries on Tomkins’smusic by Denis Stevens, BernardRose, Peter James, and David R. A.Evans. Burlington, VT: AshgatePublishing, 2005. xiii + 373 pages;$134.95 from Ashgate Publishing,101 Cherry Street, Suite 420,Burlington, VT 05401-4405; tel:802/865-7641; fax: 802/865-7847; e-mail: <info@ashgate.com>.

Although the name of ThomasTomkins (1572–1656) is perhaps not aswell known to the general music publicas those of his contemporaries WilliamByrd (1543–1623) and Orlando Gib-bons (1583–1625) in the history ofBritish music, the author of this bookdescribes him as the “last great compos-er of the ‘golden age’ of British Music.”Tomkins was a member of a musicalfamily that included several otherchurch musicians of some distinction,and at one stage in his career Tomkinsstudied with Byrd. In 1596, at the age of24, he was appointed organist in chargeof music at Worcester Cathedral, andtook the degree of B.Mus. at MagdalenCollege, Oxford, in 1607. By 1620 hewas a Gentleman of the Chapel Royal—this was not a fixed building but an insti-tution subject to royal command—whoarranged and performed the divine ser-vice in the sovereign’s presence; one ofhis colleagues was Orlando Gibbons.After the death of Gibbons, as one ofthe principal royal composers Tomkinsprovided much of the music for thecoronation of Charles I. Tomkins was aprolific composer in many genres, andall his works are polyphonic in concep-tion. Most of his music was composedfor church use. His anthems providedfor some idiomatic keyboard writing, incontrast to the vocal-based counterpointof his contemporaries. His keyboardworks vary in style from the inviting tothe complicated, employing a groundbass or plainsong. Several of his lateworks—anthems and keyboard pieces—express outrage and sadness over cur-rent political affairs: one ‘sad pavan’,headed ‘for these distracted times’, wasdated a few days after the execution ofhis royal patron, Charles I, in 1649. He

wrote five services, over 100 anthems,madrigals, and about 70 instrumentalworks, which include keyboard piecesand consort music.

The book is divided into three parts.Part One, “The Lives and Times ofThomas Tomkins and his Family,” con-sists of 12 chapters that identify hisactivities mainly according to geograph-ical locations, such as St. David’s (‘littleEngland beyond Wales’), Gloucester,and Worcester. The story begins with anaccount of Tomkins’s appointment as avicar choral at St. David’s in 1565, wherepart of his duties consisted of someorgan playing. The following accountprovides fascinating details of his lifewithin historical contexts. Also includedare descriptions of area topography,cathedrals and their organs, the condi-tion of cathedral music, the social andpolitical aspects of life in ElizabethanLondon in general—the mid-seven-teenth century was a time of plague andwars—and in the Chapel Royal in par-ticular. This part also includes refer-ences to the place of music in the edu-cation of children; the state of Englishliterature, poetry, and drama, enhancedby the inclusion of quotations from rele-vant works; and the activities of promi-nent representatives of these genres.Tomkins’s activities as organist—includ-ing playing for such royal occasions asfunerals and coronations—are also doc-umented in these contexts; the six-hourcoronation of Charles I is described asthe single most important event ofTomkins’s entire career.

Part Two, “The Music of ThomasTomkins,” consists of four chapters withthese titles: “Musica Deo sacra”; “Songsof 3, 4, 5 and 6 Parts”; “Music for Key-board Instruments”; and “ConsortMusic.” The focus on these topics iselaborated with reference to specificmusical forms and textures, and by theplace of particular pieces in the broadermusical context of the time. The authorrefers to the four-part anthems as exam-ples of Tomkins’s finest workmanship.He describes one of the verse anthems,Songs to the Organ, as “a solid andimpressive monument to the taste of thetimes, a taste that [Tomkins], as a virtu-oso organist, shared to a large degree”(211). Their wide variety of proceduresand musical ideas recommends them toplayers who have the skill to performthem. The Songs also receive the high-est praise: “the best of them reaching asummit of musical beauty that can onlybe matched by the finest creations ofWeelkes, Gibbons, and Willbye” (218).The fairly intricate account of the musicfor keyboard instruments covers about15 known works for organ and morethan 50 pieces for the virginal, harpsi-chord, or clavichord; some of these haveliturgical elements. Although the surviv-ing consort music exceeds 30 items, itseems that Tomkins’s contemporariesdid not acknowledge him as an out-standing consort writer.

Part Three, “Further Commen-taries,” includes a chapter on apprecia-tion that refers to the 41 Songs to theOrgan as some of Tomkins’s most origi-nal and finest music. Boden concludesthat although Tomkins cannot be classi-fied as a great genius, he lived in an ageof great men, and his work can beranked favorably with that of Byrd.

The concluding paragraph of Chapter12, “Distracted Times,” provides anappropriate summary of Tomkins’s lifeand his contribution to music:

Thomas Tomkins hoped to be remem-bered by posterity, and by great good for-tune that aspiration has been realized. Hismusic, both exceptional and at times for-ward-looking, served to ennoble andenrich British cultural life in an age ofpolitical turmoil. But he also sowed theseeds of future greatness, handing on thebaton of creative genius to composers he

could not know and at whose achievementhe could perhaps only guess (193).Supplementary material includes a

List of Works (67 in all: church music,secular vocal music, keyboard music,consort music) and their sources. Anextensive bibliography of works by 146authors concludes the book. The 23illustrations include external and inter-nal views of cathedrals, manuscriptpages, maps, and portraits.

This thoroughly researched, appar-ently complete, and eminently readabledocument provides a valuable contribu-tion to the field of British church musicthat will be welcomed by early musicscholars, performers, and general read-ers alike.

—James B. HartmanThe University of Manitoba

Winnipeg, MB, Canada

Kenneth Morgan, Fritz Reiner:Maestro & Martinet. Urbana andChicago: University of Illinois Press,2005. xv + 310 pp. ISBN 0-252-02935-6. $34.95 (cloth).

The conductor Fritz Reiner (1888,Budapest–1963, New York City) isremembered concurrently for hissuperlative music making, for his auto-cratic control and diminutively scaledyet precise baton technique, and forbeing a virtuosic drillmaster. His record-ings, especially of the music of RichardStrauss, Wagner, and his teacher andfriend Béla Bartók are legendary.

Morgan’s title for this biography con-tains two alliterative epithets—maestroand martinet—in which are compressedthe major characteristics of Reiner’smusical personality. The first is self-explanatory. The second is not meant tobe derogatory, but descriptive. Theword “martinet,” a strict disciplinarian,is derived from the last name of Gener-al Jean Martinet (d. 1672), Frenchinventor of a system of military drill.

Heretofore the only full-length biog-raphy of this venerated musician is thatby Reiner’s friend and colleague PhillipHart, entitled Fritz Reiner: A Biography(1994). Morgan states that Hart’s book“has begun the task of reassessment. Mybook aims to further that goal through amore comprehensive study of Reiner’spersonality, musical ideas, career, andrecordings.”

Whereas Hart’s book (Hart was assis-tant manager of the Chicago SymphonyOrchestra [CSO] during Reiner’s timethere), updated in 1997, sketches Rein-er’s career, explores his three marriagesin detail, and discusses his tenure(1953–1963) as music director of theCSO, Morgan’s well-researched biogra-phy—gathering information about histraining and early career from numer-ous newspaper and other sources fromReiner’s Budapest and Dresden yearsand conducting new interviews withReiner’s associates, critics, and family—contains more discussion of Reiner’saesthetic, analyses of his rich recordedlegacy, and an explication of his psycho-logical complexity and personality.

Morgan states that “[b]y concentrat-ing on these themes, I aim to convey thecontroversial personality and to pin-point the musical legacy of one of themost remarkable musicians . . .” Lacedthroughout are explorations of Reiner’smusicianship and his contribution, bothas teacher and as performer, to musicallife in America from his arrival inCincinnati in 1922 to his death in 1963.

Morgan states, “Contemporariesalways acknowledged Reiner as a com-plete professional in his conducting.Probably no other conductor has evergained such a reputation for precise, vir-tuosic use of the baton. Reiner was verymuch a ‘conductor’s conductor,’ the‘one conductor whom conductors them-selves consider[ed] superlative.’”

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Morgan further explains, “Two fac-tors lifted him above the level of anexceptionally competent craftsman.One was his unerring sense of form andproportion . . . the second was “his abil-ity to forge an ‘equilibrium between anexplosive, almost menacingly elementaltemperament and a strong, mature,immensely disciplined intellect whichexerts a constant effort to keep thattemperament in check.’”

And Morgan quotes Reiner himself,who has stated that a conductor “mustspeak the two languages of intellect andemotion at the same moment. Intellectwithout emotion is not art. And emotionwithout intellect is sentimentality.”

A summary testimonial from HaroldC. Schonberg, longtime music critic forthe New York Times, written 24November 1963, less than a month priorto Reiner’s death, reads: “As a musicalintellect, as an incomparable technician,as the possessor of an ear virtuallyunparalleled in his field, Fritz Reinerheld a unique spot in 20th century musi-cal life and thought.”

At least one Reiner anecdote is worthrepeating. Reiner, who had a caustic,cutting sense of humor, once replieddryly to a photographer’s complaint thathis facial expression in all pictures ofhim were too serious: “Young man, Ihave no other expression.”

This biography, a volume in the seriesMusic in American Life, includes, inthis order, an appendix containing thetimings of Reiner’s recordings, copiousfootnotes, a discography of Reiner’sperformances on compact disc, and anextensive bibliography .

Both the Hart and Morgan biogra-phies contain many of the same photos;however, there are many more photosin the Hart book.

Reiner, who was known for his fineopera conducting and hadn’t conductedan opera in several years, was scheduledto conduct Wagner’s Götterdämmerungat the Met in New York City in Decem-ber 1963, and this reviewer was sohappy to have a ticket for a perfor-mance. It is one of my life’s regrets thatReiner died a month before this perfor-mance was to have taken place.

Kenneth Morgan is a professor of his-tory at Brunel University in Uxbridge,England, plays the bassoon, and hasbeen a regular contributor to Interna-tional Classical Record Collector.

—Jeffrey K. Chase, M.Mus, J.D.Ann Arbor, Michigan

MARCH, 2006 15

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The Consolations: Sechs Character-stücke were also originally composed byLiszt for piano and later transcribed fororgan. Some commentators believe thatthey were inspired by Les Consolations,a collection of poems by CharlesAugustin Sainte-Beuve, a friend ofLiszt’s mistress the Countess Maried’Agoult. The three performed on thisrecording are Nos. 4, 5, and 6 of the set,and are written in sharply contrastingstyles. The agitated chromaticism of thefinal one is particularly effective.

Liszt’s Angelus! Prière aux anges gar-diens is another transcription for organof what was originally a piano composi-tion. It comes from a collection of threesuites, entitled Les Années de Péleri-nage, and is No. 1 from the TroisièmeAnnée. It is dedicated to Daniela vonBülow, Liszt’s granddaughter by hisdaughter Cosima and her first husband,the celebrated conductor Hans vonBülow. The strong religiosity of thisheartfelt prayer, that guardian angelswill watch over the composer’s grand-child, gives the performer a good oppor-tunity to demonstrate the contrastingqualities of the Skinner strings, as wellas some of the organ’s softer solo voices.The piece builds up to a strong fortissi-mo, before almost instantly droppingback to a whisper at the end.

The well-known Prelude and Fugueon BACH is the only work on this CDthat was originally intended for the

New Recordings

Liszt & Wagner. Jared Johnson,organist. 1926 Skinner organ at Jef-ferson Avenue PresbyterianChurch, Detroit, Michigan. JAVRecordings CD JAV 133,<www.pipeorgancds.com>.

Variations on “Weinen, Klagen, Sor-gen, Sagen,” Three Consolations,Angelus! Prière aux anges gardiens, Pre-lude and Fugue on BACH, Am GrabeRichard Wagner, Liszt; Prelude to “Par-sifal,” Wagner, transcribed by Edwin H.Lemare.

Jared Johnson, who is the CanonOrganist and Choirmaster of TrinityEpiscopal Cathedral in Columbia,South Carolina, here plays an interest-ing program, mostly of transcriptions,including seven pieces by Liszt and oneby Wagner, on the famous Skinnerorgan in Jefferson Avenue PresbyterianChurch, Detroit.

Liszt originally wrote his set of varia-tions for piano on the theme “Weinen,Klagen, Sorgen, Sagen” (Se. 179) fromBach’s Cantata No. 12 while grievingover the death of his eldest daughterBlandine. It was arranged for organ byhis pupil Winterberger, but later Liszthimself revised the piece as an organcomposition, giving it a more tri-umphant ending (Se. 180), which is theversion Jared Johnson plays on the CD.The wonderful dynamic range of theSkinner organ is apparent throughoutthe variations as the performer makes alarge number of seamless transitions.

organ, rather than being transcribed forthe instrument afterwards. The versionused on this recording is based on therevised edition of 1870. Jared Johnson’sperformance is well phrased and accu-rate, as well as displaying considerablevirtuosity toward the end. The Pedaldivision of the Skinner organ is particu-larly effective in the fugue.

In 1863 Richard Wagner fell in lovewith Liszt’s daughter Cosima. She andHans von Bülow divorced and Cosimathen married Wagner. Liszt wrote AmGrabe Richard Wagner after the deathof his son-in-law, Richard Wagner, in1883. Again the composition was origi-nally written for piano and later tran-scribed for the organ. It was a pieceintended to pay tribute to a composer,whose work, as the leaflet records, Lisztonce described as “the greatest and mostmajestic art ever created.” The openingsolo, evocative of some of the motifs inParsifal, makes effective use of thereverse-tapered Gamba and GambaCeleste stops on the Solo division, con-trasting with softer passages on theChoir Kleine Erzähler. It fades away to awhisper and ends on the Harp/Celesta,which with box closed is such a delicateeffect as to be almost imperceptible.

The final track of the recording istaken up with Edwin H. Lemare’s tran-scription of the Prelude to Wagner’s Par-sifal. This is an obvious piece to followLiszt’s tribute to Wagner, which was, as

we have seen, so obviously inspired byParsifal. Following the strings at thebeginning, Jared Johnson makes veryeffective use of the French Horn andTuba in the middle section of the Pre-lude. Once again the piece fades away toa whisper on the strings at the end.

This recording displays the gentlervoices of Skinner Op. 475 better, Ithink, than any other recording of theinstrument I have heard. The repertoireis delightfully relaxing, though there arealso moments of excitement, and theplaying throughout is first rate. The CDis well worth its purchase price.

—John L. SpellerSt. Louis, Missouri

The Orpheus of Amsterdam: JanPieterszoon Sweelinck and hispupils. Gail Archer, organ. CalaRecords CACD 8843 <www.calarecords.com/>.

For this recording of music by Swee-linck and his pupils Samuel Scheidt andHeinrich Scheidemann, Gail Archer haschosen the C. B. Fisk organ at WellesleyCollege, which has three manuals andpedal based on a German model. The 8-stop Oberwerk includes a chorus from16 to 2 plus 6-rank Mixtur andTrompet; the 6-stop Rückpositiv chorusruns from 8 to 22⁄3 plus Sesquialtera,Scharff, Trechterregal and Krummhorn;the 6-stop Brustwerk comprises 8 up to

16 THE DIAPASON

2 plus Zimbel, Regal and Schalmey.The Pedal is in two sections: 16 Sub-bass, 8 Spillpfeife, Posaune andTrompet; and to balance the Brustwerkthere are an 8 Dulcian, 4 Regal, 2 Cor-nett and a 1 Bauernflöte.

The CD contains six pieces whichcover twenty tracks once individualmovements are taken into account;three of the pieces are by Sweelinck,two by Scheidt and one by HeinrichScheidemann. Taken together they pre-sent an overview of the main stylesdeveloped by Sweelinck and his Ger-man pupils that had such an impact onthe North German school through to J.S. Bach. The first track is a Toccata in Cby Sweelinck played here on a brightplenum without reeds that allows thecarefully crafted writing to be heardclearly throughout the compass. Thepiece opens with a chord that Archerarpeggiates downward, and continueswith much 16th-note passageworkagainst held or repeated chords—Sweelinck’s assimilation of figures fromthe English and the Italian schoolsbeing developed into a highly individualstyle. The second piece on the disc isthe Echo for two manuals running toalmost ten minutes, taken from the sec-ond part of the Tabulatura Nova bySamuel Scheidt. In the first part of thepiece (taken at a leisurely tempo here)the echo effect consists of chords andshort phrases played alternately forteand piano on different manuals, theforte part being played on an 8 flutestop, and the piano effect on a gentlereed. In the rather more lively secondpart the left hand plays on quiet stopsthroughout, while the forte element forthe right hand is projected on a typical-ly Baroque gapped registration that tin-kles brightly. The carefully markedphrasing is well defined here.

The third piece is a set of four verseson the seventh tone on the Magnificatby Heinrich Scheidemann, organist atSt. Catherine’s Church, Hamburg.Archer opts for a quieter approach thanis usual with these pieces, but the down-side to this is that the cantus firmus inthe Pedal does not shine through, espe-cially in the last verse where the manualpassagework is played on 4 only. It isalso particularly noticeable in the sec-ond verse where the Pedal plays more ofa continuo role in the second half. In thethird verse the cantus firmus played ona bright gapped combination is passedfrom hand to hand and sounds mosteffective; here the Pedal is much betterbalanced.

The next piece is the very short varia-tion by Sweelinck on the English tuneMalle Sijmen; the lively passagework inthe repeats is played cleanly and wellarticulated against detached chords. Thefollowing set of 10 variations on Est-ceMars by Scheidt is taken from the firstpart of his Tabulatura Nova, and showshow the pupil has extended and devel-oped virtuoso requirements of the art asthe variations unfold; Archer here showsmany registrational possibilities, theupperwork without an 8 foundationbeing particularly favored. Most effectiveis the sixth variation, a bicinium played

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with trumpet in right hand, against high-pitched registers in the left. The finalvariation played on a full organ also intro-duces the delightful Zimbelstern.

The CD closes with the magisterialRicercar by Sweelinck, based on anabstract subject ripe for full contrapun-tal development. The full gamut of com-positional mastery is evident, and thechanges of register, apart from the onein bar 108 that actually disturbs the con-trapuntal line, help to maintain the lis-tener’s concentration through 300 bars;at the end one is unaware that almost 12minutes have elapsed. Careful use ofthe pedals, here well balanced, bringsout the subject when it is written in aug-mentation. This splendid piece, playedwith great rhythmic precision andpanache, is a worthy CD closer.

The accompanying booklet provides abrief description of the pieces, but forfurther information on the organ thereader is referred to the college web-site—surely some brief comments on itsprovenance could have been includedhere. Gail Archer’s playing is crisp andclean, and she deals with the formidabletechnical challenges throughout withgreat dexterity and digital agility, butdoes not always take advantage of thoseplaces where additional ornaments canbe added successfully. While the articu-lation is generally convincing, some-times the 16th-note or eighth-note figu-ration sounds too legato, especially inthe Sweelinck Toccata and in the Schei-demann. The well-chosen variety of reg-istrations (apart from in the Scheide-mann as mentioned above) allows us tohear the quality of the voicing of allranks. This CD is recommended, but atonly 50 minutes it is certainly on theshort side—one may ask why Malle Sij-men by Sweelinck was preferred overone of his (or his pupil’s) other settingsof secular or sacred melodies, or indeedwhy more contrapuntal pieces were notincluded.

—John CollinsSussex, England

and became a naturalized citizen.The playing on these discs is uniform-

ly excellent with imaginative registra-tions, rhythms and all the rest. TheGorski work covers the gamut ofsounds: soft to loud, slow to fast, with acomplex fugal section and many toccata-like passages. Surzynski’s Improvisationreceives a stately treatment andrequires much imaginative color leadingto a very exciting conclusion. His tocca-ta is a more typical Baroque-style piece,but attractive.

Using two Polish Christmas carols,Nowowiejski’s treatment is atmospher-ic and lovely. Nothing is given in thenotes about the organ, which I thoughta bit strident in sound for this music.Borowski wrote admired programnotes for the Chicago Symphony andtaught at Northwestern University (sci-ence!). His admirable sonata is dedicat-ed to Alexandre Guilmant, whose styleit emulates.

There is nothing new that I can sayabout Brahms’s organ music, except towish he had composed more of it.These performances, played in a won-derfully resonant building, are all thatone could wish. My favorite, Fugue inA-flat minor, is gently played to splen-did effect. The familiar chorale pre-ludes are given restrained perfor-mances. Hearing the eleven in a row isprobably not what Brahms intended,although many years ago I heardErnest White play the Bach eight ‘lit-tle’ preludes and fugues as the firsthalf of a recital and the Brahmschorale preludes as the second half!Students beginning to learn theBrahms organ repertoire could not dobetter than listen to this mature andmusical playing.

—Charles Huddleston Heaton

Robert Hebble, Festive Hymns &Pieces. Warner Bros. Publications,5380068.

This collection includes two familiarTrumpet Tunes by Handel and Stanley,“Rondeau” from Symphonie de Fan-fares by Mouret, and Toccata on “FestalSong” (Toccata con Rico Tino) byWilliam Walter, and six additionalpieces composed by Hebble: AmazingGrace, Celebration, Exultate Deo, Festi-val Piece on “A Mighty Fortress Is OurGod,” Haec Dies Resurgam, ToccataBrevis (on “St. Denio”).

My previous knowledge of RobertHebble was from some of his instru-mental works with organ. I enjoyed sev-eral pieces for combinations of flute,clarinet, and organ, and appreciated hisunderstanding of those instruments.For the organist, Hebble writes with acolorful, chromatic vocabulary, changesof meter and manual, and yet retains theidiomatic “organic” style. The dancelikecharacter he infuses into many of hisown works is quite attractive.

In this assortment of pieces, the tunesstand out clearly; there are changes oftextures, registrations, manuals, andmeter; and there are some challengingharmonies. All pieces would requiresome preparation time—there’s no‘quick read’!

Dan Locklair, In Mystery and Won-der (The Casavant Diptych). SubitoMusic Publishing, 2004, $14.95.

Casavant Frères commissioned DanLocklair to compose this work in honorof the organbuilding firm’s 125thanniversary. Written in 2003, the pieceswere premiered by a number of organ-ists worldwide during the celebratoryweekend of 13 November 2004. Theworks were written to be performed onorgans of two manuals or larger, and theregistration suggestions, although pro-vided for a smaller instrument, are basicsonic guidelines.

Here are some of the composer’scomments on his work:

Symbolism, as the basis for all musicalmaterials, abounds in both movementsand especially in the use of “C” and “F”note codes for “Casavant Frères.” Sinceone of the main melodic ideas from thefirst movement, Aria, appears in the sec-ond movement, Toccata, the compositionis cyclic. In order for the Casavantanniversary to be celebrated by the widestrange of organists possible, a requirementfor this commission was that the firstmovement be technically modest, withthe second being more technicallydemanding.

The first movement is subtitled “Godmoves in a mysterious way . . . ,” andusing the C and F pitches, the tonalareas move from C major to C minor, toF major and B-flat major, and other keycenters—the mystery is key.

The second movement, subtitled “ . . .His wonders to perform . . . ,” opens withfull organ arpeggiations and alternatingmeters of 2/4 and 7/16, which serve as anintroduction to a virtuosic pedal solo. Ahighly chromatic section “With zest” fol-lows, with additional meters of 6/16,10/16, and 11/16. Then, the melodicmaterial from the Aria emanates, and isplayed on a full organ sound.

The contrast between the simple,lyric lines of the Aria and energy andchromaticism of the Toccata make theCasavant Diptych a delight to play. Ihighly recommend this work.

David Cherwien, Lift High theCross: Prelude and Postlude basedon Crucifer by Sydney H. Nicholson.MorningStar Music PublishersMSM-10-726, 2003, $10.

David Cherwien is no stranger to theorgan world. He has composed aplethora of chorale preludes for thevarious seasons of the liturgical year.An organ student of Paul Manz (andothers), he learned the art of improvis-ing and composing alternate settingsfor worship.

The Prelude on Crucifer utilizesfresh harmonies. It begins with astately introduction; when the verseportion of the hymn enters, it is statedin the pedal, in syncopation, while themanuals provide the accompanyingmaterial. If you have small hands, asdo I, this part of the piece may beuncomfortable, or unplayable, for you.The initial material returns, and theprelude ends quietly.

The Postlude begins with a flourish inthe manuals and a pedal response, andmoves quickly into a French toccata,where the pedal takes the choralemelody as the manuals feature the typi-cal toccata figurations. Several modula-tions ensue and bring the piece backhome to C major. Again, if you havesmall hands, it may be difficult to playexactly what is on the page, although afew small changes to simplify thestretches could easily be made.

—Sharon L. HettingerLawrence, Kansas

Marek Kudlicki. Polish RomanticOrgan Music. Weigle organ in theStadtkirche in Nagold, Germany.Polskie Nagrania PNCD 967<www.polskienagrania.com.pl>.

Konstanty Gorski, Fantasy; Mieczys-law Surzynski, Improvisation on the Pol-ish Church Hymn “Holy God,” op. 38,Toccata in F-sharp minor, op. 36; FelixNowowiejski, Polish Fantasy, op. 9;Felix Borowski, First Sonata.

Marek Kudlicki. Brahms CompleteOrgan Works. Kaminski organ at St.Barbara Church in Warsaw, Poland.Polskie Nagrania PNCD 626<www.polskienagrania.com.pl>.

Here are two worthy CDs of organmusic, one of which will be completelyfamiliar to most American organists andanother of splendid music probablyunknown, with the possible exception ofthe Borowski sonata. Borowski was ofPolish and British descent, but spentmost of his career in the Chicago area

New Organ Music

MARCH, 2006 17

For the University of Michigan His-toric Organ Tour 52, we were invited bythe World Congress on the New Evan-gelization to perform concerts in Portu-gal during the congress November 5–15,2005. Seven artists took part in the tour:Donald and Lucy Baber, Donald Fishel,Joan McKay, Andrew Meagher, DavidTroiano, and Marilyn Mason.

Portugal covers 36,000 square miles.The population of Lisbon is 600,000 inthe center and 1 million in the sur-rounding area. Historically, Portugalwas a pioneer in exploration. The GreatEarthquake of November 1, 1755, virtu-ally destroyed the city of Lisbon andsurrounding areas. Approximately60,000 died. Voltaire describes this hor-rific destruction in his Candide. Todaythe country offers its own richness invariety of landscapes, churches, muse-ums, and cuisine.

Dia á DiaIn Lisbon we played historic organs

including one built in 1791. None ofthem were in very good conditionexcept for a small Cavaillé-Coll in theFrench parish church. It was in tuneand in good playing condition. Theoperative word here is unchanged.Except for the addition of electricity,the organs remain virtually as they werecreated. Many organs reveal the originalwindings: pumps remain that had beenoperated by hand before the addition ofelectricity.

The Breath of the Spirit is a multi-media work: two narrators read thepoetry of Ken Gaertner, and the ninepoems are interspersed with music forflute and organ by Gregory Hamilton.The music was played by Duo Pneuma:Donald Fishel, flutist, and MarilynMason, organist.

We played three performances of TheBreath of the Spirit on three differentorgans to very receptive audiences. Thefirst concert took place on November 7at the Basilica de Estrela, a beautifulcathedral that was consecrated in 1790.As with almost all churches, it was builtafter the 1755 earthquake. The organhas one manual, seven stops, dividedbetween b and c1. Andrew Meagherassisted.

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The University of MichiganHistoric Organ Tour 52 Marilyn Mason

Duo Pneuma: Marilyn Mason, organist, and Donald Fishel, flutist

Left sideDel de CainoClaraoCompuesta de 29QuincenaFl de 6Fl de 6Fl de 19VentilsReeds onMixture on

Right sideClarinCornettaVinte dozenaPifaroVox humanaFlautoFl de 19VentilsReeds offMixtures off

Nameplate: Estrela Antonio Xavier, Mucha-do Cin. 1791 no. 2

On November 8, the opening Mass ofthe congress took place in the Cathedralof St. Jerónimos. In a grand procession,11 bishops followed by Cardinal Polycar-po processed into the packed cathedral.Included in prayers was a petition to St.Theresa for the opening of the congress.We heard a large modern organ with afull pedal; the music included Bach’sFantasy in G Minor, BWV 542.

The second concert took placeNovember 8 at the Igreja Maddalena.The organ has two manuals and pedalsand 19 registers; the builder is unknown.

PositiveFagoteBaixao-ZinhoVox HumanaFl 2Fl 4Fl 8Tapadillo 8Viola 8

HauptOboeClarin

Tr RealCorneta RealCheio19th E 2215th12thFl Trav 4Fl 8O Real

PedI–PedII–Ped

Manual keys: 4 octaves plus C-sharp to FPedal keys: 2 octaves plus C-sharp, D

The morning of November 9 weattended a Rosary in Fatima, and ourperformers were invited to participate.David Troiano sang Durante’s Vergintutto Amor with Andrew Meagher asaccompanist. Donald Baber was accom-panist for Joan McKay’s singing of theBach/Gounod Ave Maria.

The third concert, on November 9,was held at the Igreja Paroquia daAjuda. The organ, of one manual and 11registers, is by an unknown builder.

Left sideTrombeta magnaClarao 4Cheio 3FCimbala 4FComp. 22QuinzenaDozenaFl 6 TapOctava RealFl 12 TapFl 12 AB

Right sideClarimCorneta 4FCimbala 3FCheio 4FComp. QuinzenaOitava RealVoz. humanaFl. TravessaPifanoFl. 12 ABFl. 12 Tap

One manual, 4 octaves, plus high c#, d, d#,e

On November 10, we drove to Sintra.In the mountains there are over 350varieties of trees, including umbrellapine, olive, palm, oak, and pine, and alsomore exotic: camellia, hibiscus, andbougainvillea. At Sintra we visited thePalacio Nacional, a residence of kings,which has been well preserved. Longbefore the arrival of the Crusaders, thiswas a summer palace of Moorish sul-tans. The furnishings are in fine condi-tion, and the glazed earthenware tileslining many of the rooms are among themost beautiful in Portugal.

At the Ingreja de S. Luis dos France-ses, we experienced a serendipity—oneof the surprises of the tour in the formof a Cavaillé-Coll organ.

On November 11, we took a two-mile walk on the beach to enjoy theastounding Atlantic. The concert was atthe Igreja Paroquial da Pena. Thisbeautiful parish church is situated onthe top of a high hill. We spurned theelectric tram and we climbed 180 steps(I counted) at nine different levels of20 each to attain the summit. In thechurch we met a gracious priest,Father Nicolau Poelman, so proud ofhis church and of the organ. The group

of Troiano, Meagher, McKay, Don andLucy Baber played the recital to a mostappreciative priest and audience.David Troiano’s second language isSpanish, so he addressed the audiencein Spanish. He had them in the palm ofhis hand: they found an American whonot only played, but sang, and couldintroduce the music to them in a lan-guage they understood. His introduc-tions, the music, and the players madefriends for America.

On November 13, we visited the mainCathedral or “Se” on the square. It is anarchitectural wedding of Romanesqueand Gothic styles. Some think that atone time it was a mosque. The earth-quakes of 1344 and 1755 damaged thestructure. During Mass we heard thecabinet organ, which was placed to the

left of the chancel. The sound of thislovely instrument filled the room attest-ing to Cavaillé-Coll’s dictum, “Acousticsare the most important stop on theorgan.”

On November 14, we enjoyed a two-mile walk from Estoril to Cascais alongthe sea. The mouth of the Tagus Rivermakes a natural harbor for Lisbon. Wemust not neglect to mention the food:pork, chicken, sausages, beef and manyboiled dishes, often served in imagina-tive ways and with many interestingsauces. The many small restaurants allserve good food, especially fish thatwere in the sea that morning.

All of the organs have mechanicalaction. In general, they are free-stand-ing, and there are three types:

1. One manual without pedal, withdivided keyboard

2. One manual with pedal3. Two manual with pedal

The two manual instruments have pedalcouplers and a I–II coupler. The tonesare usually mild, and also rich. One stopcan fill the room. The color variety iswithin the flues and reeds. The 4 flutesare especially charming: clear andbright. The reeds, as in Spain, are enchamade. One instrument, at Igreja dePena, had reeds en chamade on all foursides of the free-standing case.

What needs attention: tuning, keysthat stick, notes that are dead, uneven-ness of touch, and a general regulationof the touch. Finally, it remains for a cat-alogue of these charming organs to beprepared by a scholar or aficionado. �

Marilyn Mason is University Organist,Professor of Music, and Chairman of theOrgan Department at the University ofMichigan. She has led more than 50 historicorgan tours abroad.

18 THE DIAPASON

First Church of Christ250 Main Street

Wethersfield, Connecticut 06109

NINTH ANNUAL

ALBERT SCHWEITZER ORGAN FESTIVAL/USANORTH AMERICAN COMPETITION

High School DivisionFIRST PRIZE: $2,000

Provided in part by Ahlborn-Galanti OrgansOther prizes also awarded

College/Young Professional *FIRST PRIZE: $3,500

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This includes an appearance on our2006-2007 Concert Series

*Through age 26Other prizes also awarded

PAST JUDGES: Colin AndrewsDiane Meredith Belcher, Benjamin Dobey

Paul Fejko, Janette Fishell, Frederick HohmanKatharine Pardee, Cherry Rhodes

Catherine Rodland, John RoseJohn Walker and John Weaver

INFORMATION AND APPLICATION: 860 /529-1575, ext. 209www.firstchurch.org/ASOF

PANEL OF JUDGES

Frederick Hohman

Thomas Heywood

Marilyn Mason

AUDITION TAPES/CDs:Due: June 1, 2006

COMPETITION:Sept. 8–10, 2006

On Tuesday, September 6, 2005, sixyoung organists began arriving inWethersfield, Connecticut to partici-pate in the eighth annual AlbertSchweitzer Organ Festival/USA. Thisyear the caliber of playing was especial-ly high, and all who heard were greatlyencouraged regarding the future oforgan playing in our country.

We are grateful to the followingchurches for allowing these six finaliststo practice on their organs: Trinity Epis-copal Church, Wethersfield: BruceHenley, organist-choirmaster; AsylumHill Congregational Church, Hartford:Charles Miller, organist and associateminister of music; Christ Church Cathe-dral (Episcopal), Hartford: CanonJames Barry, organist and choirmaster;and Bethany Covenant Church, Berlin:Olga Ljungholm, minister of music.

On Friday morning, September 9,the finalists were treated to a tour of St.Joseph’s Cathedral (Roman Catholic) inHartford, conducted by EzequielMenendez, organist-choirmaster. Theawesome architecture and the IV/141Austin with its five seconds of reverber-ation were a thrill for all to experience.

On Friday evening a concert washeld in the historic Meetinghouse ofthe First Church of Christ in Wethers-field, featuring music composed byorganists. The Campanella HandbellChoir, directed by Linda Henderson,joined organist David Spicer in present-ing Paean of Praise (based on Pasticcio)by Jean Langlais, arranged by SueMitchell-Wallace. Spicer then playedAria by Flor Peeters and led the Festi-val Choir in Chant Praises to God, ananthem heard for the first time at thisfestival, composed by FrederickHohman and dedicated to the AlbertSchweitzer Organ Festival/USA. Thefinal triumphal chords of this anthemled into the hymntune Christ Church

(“Christ Is Made the Sure Foundation”)by Richard Dirksen. The Festival Choirthen sang Psalm 150 by César Franck.

The father and son team Abubakerand Babafemi (Generations of Drum-mers) led all present in some vigorous,interactive African drumming. AlvinCarter Sr. and Alvin Carter Jr. weredressed in African garb, a reminder ofDr. Albert Schweitzer’s great mission-ary work in Africa. Next, the threejudges for the competition played onthe Austin IV/62. Benjamin Dobey,from Kohler, Wisconsin, played thePaean (from Six Pieces for Organ) byHerbert Howells. This was followed byCortège and Litany, op. 19, no. 2 byMarcel Dupré, played by KatharinePardee, who traveled from Oxford,

England to be at the festival. Finally,permanent adjudicator of theASOF/USA, Frederick Hohman, fromSouth Bend, Indiana, played the Allegro(Theme with Variations), the first move-ment of Symphony No. 6 in G by Widor.

Anthems He Comes to Us by JaneMarshall (with text by Albert Schweitzer)and Go Ye into All the World by RobertWetzler were sung by the Festival Choir.The concluding hymn was “Let HeavenRejoice” (Rock Harbor), tune by AlanMacMillan and text by Hal M. Helms,which has become a tradition at theseopening concerts.

High School Division finalists wereSamuel Kohei Gaskin, from Beaumont,Texas (third prize), who studies withHugh E. Thompson; Kenneth ScottMiller from Conover, North Carolina(second prize), a student of FlorenceJowers; and Jacob Michael Street fromNorth Reading, Massachusetts (firstprize), a student of John Shelton.

The Young Professional Divisionfinalists were Scott A. Montgomeryfrom Champaign, Illinois (third prize),a recent graduate of the University ofIllinois, where he is continuing hisstudies with Dana Robinson; MonicaAlexandra Harper, from Waco, Texas(second prize), where she is a graduatestudent of Joyce Jones at Baylor Uni-versity; and Jason Noel Roberts fromNew York City (first prize), studyingunder McNeil Robinson at the Man-hattan School of Music.

Saturday, September 10, the HighSchool Division competition was heldfrom 9 am to noon. The Young Profes-sional Division finalists competedfrom 1–4 pm. Sunday morning, Sep-tember 11, all finalists played portionsof the 8, 9:15 and 11 am worship ser-vices. At 4 pm awards were presented,and first-place winners Jacob MichaelStreet and Jason Noel Roberts wereheard in recital.

The total combined repertoire repre-sented by these six finalists includedPrelude and Fugue in D Major, BWV532; Prelude and Fugue in a minor,BWV 543; Fantasia in G Major, BWV572; and Trio Sonata No. 6 by Bach;Andante Sostenuto from SymphonieGothique by Widor; Choral No. 1 in EMajor, Choral No. 2 in b minor, andChoral No. 3 in a minor by Franck;Méditation by Duruflé; Prelude andFugue in g minor by Dupré; “Lebhaft”(Sonate II) by Hindemith; WondrousLove: Variations on a Shape-NoteHymn by Barber; and hymn tunes St.Thomas, Ein’ feste Burg, Ar Hyd y Nos,Coronation, Slane and Eventide.

Special thanks go to Gordon Auchin-closs, who was on hand throughout theSaturday competition to offer assistanceshould the organ need it, and to BonSmith of Austin Organ Service Compa-ny of Avon, Connecticut, who gracious-

ly gave the gift of tuning for this festival.Our thanks to Nancy Andersen, fes-

tival manager; Karen Franzen, admin-istrative assistant; Betty Standish,ASOF/USA chair, for the organiza-tional work that made the festival runsmoothly and efficiently. A specialnote of thanks to Dana Spicer andMainly Tea of Wethersfield, for pro-viding a reception for the three judgeson Friday evening and a wonderfuldinner for finalists and judges on Sat-urday evening.

The Albert Schweitzer Organ Festi-val committee is preparing forASOF/USA 2006, to be held inWethersfield, Connecticut, September8–10. Organists Marilyn Mason andThomas Heywood will join FrederickHohman as this year’s guestartists/judges. Plans are underway tofeature these organists in the openingconcert of the festival on Fridayevening, September 8 at 7:30 pm. Thecommittee is hoping to invite six quali-fied young organists to compete in thetwo divisions on Saturday, September 8.Awards and requirements have beenchanged: the High School Division first-place award sponsored in part byAhlborn-Galanti Organs has been raisedto $2000. In addition to the first-placeaward of $3500, provided in part by J.H.& C.S. Odell Organ Builders, the YoungProfessional Division first-place awardwinner will have the opportunity to pre-sent an organ recital during the2006–2007 First Church ConcertSeries. An additional award of $500 willbe given from the Helen L. ReinfrankMusic Fund for the most creative hymnplaying. �

David Spicer began as Minister of Musicand the Arts at First Church of Christ inWethersfield, Connecticut in 1986. In 1996he and Dr. Harold Robles founded the AlbertSchweitzer Organ Festival/USA. Spicer is agraduate of the Curtis Institute of Music,where he studied with Dr. Alexander McCur-dy, and of the Eastern Baptist TheologicalSeminary.

Information about the Albert SchweitzerOrgan Festival/USA and current require-ments for the competition are available bytelephone: 860/529-1575 ext 209; e-mail:<music@firstchurch.org>; or by viewing theASOF/USA website:<www.firstchurch.org/ASOF>.

Albert Schweitzer Organ Festival/USA David Spicer

(l to r) Samuel Kohei Gaskin, Nancy Andersen, Kenneth Scott Miller, Scott A.Montgomery, Jason Noel Roberts, Monica Alexandra Harper, Katharine Pardee,David Spicer, Benjamin Dobey, Jacob Michael Street, and Frederick Hohman (photoby Betty Standish)

First-place winners ASOF/USA 2005Jason Noel Roberts (Young Profes-sional Division), Jacob Michael Street(High School Division) (photo by BettyStandish)

David Spicer awards Jason NoelRoberts with first place in theASOF/USA Young Professional Divi-sion (photo by Betty Standish)

MARCH, 2006 19

Next to Stanley’s Trumpet Voluntary,William Walond’s Cornet Volun-

tary in G major (Op. 1, No. 5) is proba-bly the best-known piece of Englishorgan music to have survived from theeighteenth century. Surprisingly little isknown, however, about the composer.The few facts that are known about himare given in Watkins Shaw’s entry in theNew Grove Dictionary of Music andMusicians.1 Walond, described as “ofthis city,” died in Oxford in 1770, aged45. This means that he would have beenborn circa 1725. Described as anorganorum pulsator (an “organ beat-er”), he matriculated to the Universityof Oxford on June 25, 1757, when hiscollege was recorded as Christ Church.Shortly thereafter he obtained his Bach-elor of Music degree, presenting as hismusical exercise a setting of AlexanderPope’s Ode on St. Cecilia’s Day. Con-trary to what Watkins Shaw says, thisdoes not seem to have been published.Walond did, however, publish two vol-umes of organ voluntaries, his Opus 1,Six Voluntaries for Organ or Harpsi-chord (1752), and his Opus 2, Ten Vol-untaries for the Organ or Harpsichord(1758).

Walond seems to have been highlythought of among his fellow organists,and the subscription list for his first setof published voluntaries includes thenames of such eminent musicians asJohn Stanley. Walond spent most of hiscareer as the assistant of RichardChurch, who was the Heather Professorof Music at Oxford and also the organistof both Christ Church and New Col-lege, Oxford. It seems that Churchmostly looked after the music at ChristChurch himself and left his assistantWalond to handle the music program atNew College. Walond might haveexpected to succeed Church in some orall of his preferment, had he not had themisfortune to predecease Church by sixyears and die at the early age of 45.Walond had three sons, Richard (d.1831), George, and William Junior (d.1836), all of whom were connected withchurch music. William Walond, Jr., wasorganist of Chichester Cathedral from1776 to 1801. Richard Walond was a layclerk at Magdalen College, Oxford, andlater a vicar choral at Hereford Cathe-dral. George Walond was a chorister atMagdalen College, Oxford.

That is about all that is known aboutWalond for certain, but there is confu-sion even over this. Various Internetsites give Walond’s dates as“1719–1768,” but these dates do notaccord with the known facts mentionedabove, and the dates “c. 1725–1770”,cited by Shaw, appear to be correct.Part of the problem is that the nameWalond (pronounced “Woll-ond”) wasvery fluid in its spelling, and William,Jr., for example, sometimes used thespelling Walrond. There was indeed anancient family in the west of Englandnamed Walrond. They had estates atBradfield and Bovey in Devon, and atIlminster in Somerset, and were promi-nent Royalists in the English Civil War.It is conceivable that William Walondwas an offshoot of this West Countryfamily. It is also just possible thatWilliam Walond is to be identified withthe William Walland, son of Edwardand Elizabeth Walland, who was bap-tized at St. Botolph-without-Aldgate,London, on August 30, 1724. Since thephrase “of this city”(signifying Oxford)referred to Walond’s residence at the

time of his death, there is no particularreason to infer, as some have done, thathe was also born in Oxford. He mightwell have been the pupil of a prominentLondon organist such as MauriceGreene and then have been recruited toOxford by Richard Church.

Some modern editions have alteredthe character of Walond’s well-knownVoluntary in G (Op. 1, No. 5) by fillingout the manual parts and introducing apedal part. This has occasionally gonealong with renaming the piece usingtitles such as Introduction and Toccataor Toccata for the Flutes. For anauthentic performance of Walond’svoluntaries as the composer intendedthem to be heard, however, we mustlook elsewhere. There are fortunatelysome modern editions of Walond’sorgan voluntaries that do not stray farfrom Walond’s original. GordonPhillips edited the whole of Walond’sOpus 1 and one of the voluntaries fromOpus 2 in three volumes of the Hin-richsen Tallis to Wesley series.2 Morerecently Greg Lewin has producededitions of both Opus 1 and 2, and hasalso produced a facsimile edition ofOpus 1, all under the HawthornsMusic imprint.3 Besides these, a num-ber of individual voluntaries or move-ments from voluntaries have beenpublished in anthologies edited by C.H. Trevor, Charles Callahan and oth-ers. Personally, I particularly like play-ing from the facsimile edition of Opus1, notwithstanding that it involvessome familiarity with the alto clef,since the music seems to sit more com-fortably under the fingers as originallynotated by the composer.

Walond’s Six Voluntaries (1752)The first of Walond’s Six Voluntaries

of 1752 is a Voluntary in E minor, con-sisting of a Largo first movement for“The Diapasons” (the Open and StoptDiapasons used together), and a secondAllegro movement for the MountedCornet stop. This is typical of a mid-eighteenth-century “First Voluntary” ororgan piece designed to be played dur-ing the Anglican services of Morningand Evening Prayer after the Psalmsand before the First Lesson.4 The firstfour bars of the Diapason movementshow, as H. Diack Johnstone has point-ed out,5 a remarkable similarity with thefirst four bars of the Diapason move-ment of John James’s Voluntary in Eminor, found in the so-called SouthgateManuscript, and it is possible thatWalond knew of and was influenced byJames’s work (see Example 1). The Cor-net movement has an interesting struc-ture, consisting of an A section, con-trasting B and C sections, and a con-cluding recapitulation of the A section.It is unfortunate that it is rarely playedand has never, as far as I am aware,been recorded.

By contrast, Walond’s Voluntary in Gmajor (Op. 1, No. 2), another solo Cor-net piece, is quite frequently playedand recorded, and is probably Walond’ssecond most popular piece. It is wellknown mainly because it is the only oneof Walond’s voluntaries that C. H.Trevor reproduced in its entirety in hisOld English Organ Music for Manualsanthology.6 This may well be because itis the shortest of the Cornet Volun-taries and was thus the one that bestsuited Trevor’s format of relativelyshort pieces. Trevor also reproducesthe first movement only of the next vol-

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The Organ Music ofWilliam Walond John L. Speller

Example 1. William Walond, Voluntary in E minor, Op. 1, No. 1, bars 1–4John James, Voluntary in E minor, Southgate No. 2, bars 1–4

untary, Walond’s Voluntary in D minor(Op. 1, No. 3).7 This is a very fine Sicil-iana, which once again finds a parallelin another voluntary of the period, thefirst movement of John Stanley’s Op. 6,No. 1. If one composer knew the workof the other—and Stanley was certainlyon the subscription list for Walond’svoluntaries—it is in this instance diffi-cult to know who may have influencedwhom, since both voluntaries werepublished around the same time. Theresemblance may as much as anythingreflect how English composers of theperiod approached the crafting ofchurch organ voluntaries in very similarways (see Example 2). It is again unfor-tunate that the second movement, oncemore using the Mounted Cornet stop,is rarely if ever performed and as far asI am aware has never been recorded. Itis a voluntary that deserves to be muchmore widely known. In the early eigh-

teenth century small English organswith a divided keyboard generally hadthe divide set between c1 and c#1,though after about 1750 a dividebetween b0 and c1 became more popu-lar. The Voluntary in D minor (Op. 1,No. 3) can be played on a one-manualorgan with the divide in the earlierposition of c1/c#1. It would be possibleto play it on a small organ with thedivide in the more usual modern posi-tion by temporarily removing or stop-ping off the middle C pipes of the Cor-net stop.

The piece that follows, Voluntary inD minor and major (Op. 1, No. 4), isyet another Cornet voluntary, althoughin this instance each section of the sec-ond movement is first played on theCornet and then repeated on the Flute.The consensus of eighteenth-centuryscholarship suggests that this wouldprobably have meant a 4-ft. Flute used

20 THE DIAPASON

alone without an 8-ft. stop beingdrawn. Voluntaries for Cornet andFlute, like this one, were quite popularin the eighteenth century, and in someways ought perhaps to be considered aseparate genre from the basic Cornetvoluntary. In this particular one, afterthe second repeat, the Cornet re-enters at the end for the last threebars. Once again the first, slow, Diapa-son movement but not the Cornetmovement is reprinted in Trevor’santhology.8 This voluntary is anotherrather neglected piece, although thereis at least one recording of it, per-formed by Peter Ward Jones on the1790 John Donaldson organ in theHolywell Music Room in Oxford.9

The fourth voluntary is followed byWalond’s best-known composition, thebeautifully crafted Voluntary No. 5 in Gmajor. This is one of the longer Cornetvoluntaries, stretching to four pages ofthe original edition. An interesting fea-ture of the eighteenth-century edition isthat in bars 22 and 23 of the Cornetmovement Walond has a C# and D inoctaves, whereas the rest of the accom-paniment is all in single notes. Thecomposer probably did not intend bothoctaves to be played at once, but ratherincluded them as alternatives. The ideawas that if the piece were to be per-formed on a one-manual instrumentwith divided keyboard, the lower noteswould be played instead of the upperones. On a two-manual instrument theupper notes would be used. In this waythe voluntary could if required beaccommodated to a one-manual organwith the divide in either the b0/c1 orc1/c#1 position.

The sixth of the first set of volun-taries, the Voluntary No. 6 in D minor,is probably Walond’s finest work.Unlike the other five voluntaries ofOpus 1, which are all Cornet volun-taries, Op. 1, No. 6 is an Introductionand Fugue. This means that it is a “Sec-ond Voluntary,” the type of organ piecethat was generally used at the end ofchurch services. It is a magnificentexample of its kind. Written in the Ital-ian concerto style of Arcangelo Corelli,the opening movement uses the GreatOrgan for the ripieno passages, withthe concertante passages being played

on the Swell and Choir. In this respectit has some affinities with J. S. Bach’sand J. G. Walther’s arrangements ofItalian concerti for the organ. Theintroduction segues into a majesticdouble fugue on full organ. This volun-tary is also noteworthy for being thefirst known composition in which mark-ings are used to indicate when the swellbox should be opened and closed.Walond uses wedge shapes, similar tothe modern “hairpins” except that theyare solid rather than open. For anauthentic performance this voluntaryreally requires a G-compass organ sincethe note AA is several times called for,although it is possible to avoid this bytransposing a few notes in the left handup an octave without too much damageto the texture of the piece. The needfor a G-compass organ may unfortu-nately be one reason why Walond’stour de force seems to be played andrecorded10 so infrequently.

Walond’s Ten Voluntaries (1758)The second set of Walond’s volun-

taries, the Ten Voluntaries for theOrgan or Harpsichord of 1758, is muchless homogeneous than the first, andcontains both some extremely finepieces and some rather curious anom-alies. The first piece, the Voluntary in Emajor (Op. 2, No. 1), is another fineCornet voluntary from the same tradi-tion as the first five voluntaries of Opus1. Like Op. 1, No. 4, it alternates Cor-net passages with interludes on theFlute. There is, however, one strangething about this voluntary, and that is itskey of E major. Eighteenth-centuryEnglish organs were tuned to meantonetemperament, and therefore it was notgenerally considered a good idea tocompose music in remote keys. In thekey of E major, the third between B andD# would have been particularlyunpleasant, and it is puzzling thereforethat Walond should have composed avoluntary in this key. There is no evi-dence, however, that this piece was everin any key other than E major.11 Fur-thermore, there is a contemporaryprecedent for using the key of E majorin an organ voluntary by MauriceGreene.12 Indeed, elsewhere Walondwas not afraid to modulate into four

sharps quite extensively, as for examplein his B minor voluntary, Op. 2, No. 2.John Stanley does the same thing in hisOp. 7, No. 1, a Cornet Voluntary in Amajor. It is unclear whether Walond—and for that matter Greene and Stan-ley—used E major in order to exploitthe wolf notes for a particular effect, orwhether they intended that the wolfnotes should as far as possible be cov-ered over, for example by introducingornaments where B and D# are sound-ed together. It would be interesting tohear how Walond’s E major voluntarywould actually sound on an eighteenth-century English organ tuned to its orig-inal meantone temperament.

Op. 2, No. 2 is a Voluntary in Bminor, comprising an Andante playedon the Swell and accompanied on theChoir Organ, together with an AllegroModerato, for which Walond ratherunusually for the period specifies “the 2Diapasons, Principal & Fifteenth.” Thisvoluntary was also probably intended asa First Voluntary for use before theFirst Lesson at Morning or EveningPrayer. It is a pleasant little piece, and isone of the voluntaries that features onJennifer Bate’s five-CD set From Stan-ley to Wesley, where it is played on the1786 John Avery organ at St. Michael’sMount in Cornwall.13

The third of Walond’s Ten Volun-taries for the Organ or Harpsichord is avery strange beast indeed. It consists ofa single movement, an Andante affettu-oso, to be played on soft registrationswith a Sesquialtera solo in the tenor andbass registers. The Sesquialtera was atierce mixture found on eighteenth-cen-tury English organs. There were gener-ally three ranks though sometimes fouror more. A typical example would com-mence at 17-19-22 in the bass and breakback to 12-15-17 around middle C. It isjust possible that Walond intended thesolo to be played on the Sesquialteraalone, but it seems more likely that heintended other stops such as the StoptDiapason to be drawn together with it.The movement does not seem to followthe form of any of the usual types ofEnglish organ voluntaries, and I am

therefore at a loss to suggest the sort ofoccasion for which it may have beencomposed. It is nevertheless interestingin being about the closest equivalent wehave to a French Tierce en taille in theeighteenth-century English organrepertoire (see Example 3). There is anAA and four GGs in the left hand, so thepiece really requires a G-compassorgan, although it is once again fairlyeasy to get around this by playing a fewnotes an octave higher. On the otherhand, whether anyone would really wishto play it, except perhaps as a historicalcuriosity, is somewhat doubtful.

The fourth voluntary in Walond’sOpus 2 is another extremely fine one, aTrumpet Voluntary in D minor andmajor. Once again this is a fairly typicalFirst Voluntary, made up of two move-ments: a Grave for the Diapasons, and aModerato for Trumpet. The Diapasonmovement is a dignified essay in thestyle of Corelli. One feature that at firstseems strange is that while the rest ofbars 1–7 have the left hand moving inoctaves, the low C# in bar 4 is omitted,notwithstanding that the diminishedseventh chord is the climax of the wholepassage. This apparent anomaly, howev-er, is easily explained by the fact that ona “short-octave” G-compass organ, suchas Walond’s instrument at New College,Oxford, the low C# was omitted (thelow C# key played AA instead), so hesimply would not have had the noteavailable. It would probably thereforebe desirable to insert the additional lowC# on organs that possess this note. Ialso wonder if a treble D has accidental-ly been omitted at the end of bar 5,since the passage does not seem tomake a lot of sense without it. Never-theless, bars 4 and 5 are repeated atbars 43 and 44, and the treble D is onceagain omitted, making it seem less like-ly that this was a mistake, and the ques-tion remains something of an enigma(see Example 4).

The Trumpet movement is a verywell-crafted one in a slightly archaicstyle. It has perhaps more in commonwith orchestral trumpet music from thebeginning of the eighteenth century—

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Example 2. William Walond, Voluntary in D minor, Op. 1, No. 3, bars 1–4John Stanley, Voluntary in D minor, Op. 6, No. 1, bars 1–2

Example 3. William Walond, Voluntary in G, Op. 2, No. 3, bars 96–100

Example 4. William Walond, Voluntary in D minor and major, Op. 2, No. 4, bars 1–5

MARCH, 2006 21

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posers for the organ in eighteenth-cen-tury England but, apart from the twowell-known Cornet voluntaries in G,Op. 1, Nos. 2 and 5, until now his workshave been sadly neglected. I hope thatthis article will encourage a wider use ofhis voluntaries, as well as suggestingsome of the rationales that lay behindtheir original composition and provid-ing some hints about how to performthem in an authentic fashion. �

Dr. John L. Speller has degrees from theUniversities of Bristol and Oxford in Eng-land. As an organ builder he has worked forJames R. McFarland & Co., Columbia OrganWorks, and Quimby Pipe Organs. He lives inSt. Louis, Missouri, and is a frequent con-tributor to THE DIAPASON and The Tracker.

Notes1. Watkins Shaw, “William Walond,” in The

New Grove Dictionary of Music and Musicians, ed.Stanley Sadie (London: Macmillan, 1980), vol. 20,p. 184.

2. William Walond, Three Cornet Voluntariesfor Organ or Harpsichord, Tallis to Wesley seriesvol. 20, Hinrichsen Edition No. 1770a, 1961, con-tains Op. 1, Nos. 1, 3 and 5. William Walond, ThreeVoluntaries for Organ or Harpsichord, Tallis toWesley Series, vol. 32, Hinrichsen Edition No.1770b, 1962, contains Op. 1, Nos. 2, 4 and 6. Stan-ley, Walond, Boyce, Three Voluntaries for Organor Harpsichord, Tallis to Wesley series vol. 1, Hin-richsen Edition No. 1713, 1956, contains Op. 2,No. 1.

3. William Walond, Six Voluntaries for Organor Harpsichord (1752), ed. Greg Lewin, Cat. No.OM02, 1998; William Walond, Ten Voluntaries forthe Organ or Harpsichord, ed. Greg Lewin, Cat.No. OM10, 2001; and Facsimile Edition of WilliamWalond, Six Voluntaries for Organ or Harpsichord(1752), Cat. No. OM02a, 1998. All published byHawthorns Music, The Hawthorns, HawthornDrive, Wheaton Aston, Stafford ST19 9NQ, Eng-land. <www.hawthornsmusic.co.uk>

4. On this subject see Nicholas Temperley,“Organ Music in Parish Churches, 1660–1730,”Journal of the British Institute of Organ Studies, 5(1981), 33–45; this is elaborated in John L. Speller,“Before the First Lesson: A Study of Some Eigh-teenth-Century Voluntaries in relation to theInstruments on which they were Played,” Journalof the British Institute of Organ Studies, 20 (1996),pp. 64–84.

5. Ten Eighteenth-Century Voluntaries byPeter Prelleur & John James, from the R.C.O. Man-uscript, edited by H. Diack Johnstone (Oxford Uni-versity Press, 1986), Preface, p. ii. This is the sec-ond of several dozen voluntaries preserved in amanuscript, thought to have been compiled inabout 1750 to provide practice pieces for organpupils at the Chapel Royal. The manuscript was

such as William Croft’s well-knownTrumpet Tune—than with mid-eigh-teenth-century organ voluntaries suchas those of Stanley and Greene. Trum-pet voluntaries were treated veryorchestrally in eighteenth-century Eng-land, and generally nothing wasdemanded of the organ that could notreadily be accomplished on the valvelessorchestral trumpets of the day. For thisreason Trumpet movements were nor-mally written only in the keys of C andD major, and modulations and evenaccidentals were kept to a minimum.When it was desired to modulate, thiswould be done on another stop such asthe Flute.14 This is precisely whatWalond does in his Op. 2, No. 4. Thefirst two pages are played on the Trum-pet in D major without the use of a sin-gle accidental, and there is then a con-trasting one-page Flute passage wherevariety is provided by modulating intoseveral different keys. Finally the firstTrumpet section is repeated. At the endis a ten-bar concluding section inoctaves. Although the score does notmake this clear, this ten-bar section wasprobably only intended to be used afterthe repeat of the Trumpet section. Noindication is given in the original thatthis final section is to played on anythingother than the Trumpet, but since thereare other eighteenth-century prece-dents I strongly suspect that Walondintended these final ten bars to beplayed on full organ.15 Once again,unfortunately, this voluntary contains afew notes that require a G-compassorgan, and in this case it is not reallypossible to move notes up an octavewithout spoiling the character of thecomposition. This is a pity as it is one ofWalond’s finest works and deserves tobe much more widely known (seeExample 5).

Op. 2, No. 5, Voluntary in C minor,is yet another First Voluntary in twomovements, an Andante for the Diapa-sons and an Allegro ma non troppo thatbegins on the Swell and then seguesinto a solo for the Choir Vox Humanaor Bassoon. It is another very pleasantlittle voluntary, as is the one that fol-lows it, Op. 2, No. 6, a single-move-ment Voluntary in G major. No indica-tion is given of the tempo or registra-tion to be used in the sixth voluntary,and one almost wonders if it was writ-ten purely as harpsichord piece, andnot as a composition to be played onthe organ at all. Or perhaps it was: aminority of churches had a voluntarybefore the service as well as the usualvoluntaries before the First Lesson andat the end of the service. Nobodyseems to know quite what these werelike, but there is perhaps a certain pre-lude-like quality to Op. 2, No. 6, and itis therefore conceivable that if thismovement was indeed written as anorgan voluntary it was intended to beone of these elusive before-the-servicepieces. If it were to be played on theorgan it ought probably to be played ata Moderato tempo on a mezzo forte

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later in the possession of organist Thomas LeaSouthgate (1836–1917), and is now in the Libraryof the Royal College of Organists.

6. Old English Organ Music for Manuals, edit-ed by C. H. Trevor (Oxford University Press, 1966),vol. iii, pp. 17–20.

7. Old English Organ Music, vol. i, p. 17.8. Old English Organ Music, vol. iv, pp. 12–13.9. The Organs of Oxford, vol. ii, OxRecs

OXCD-42.10. I do have one very fine old 12 LP that

includes Walond’s Op. 1, No. 6, recorded back in1966 by Nicholas Danby on the 1764 John Byfieldorgan at St. Mary’s, Rotherhithe. This is on Rother-hithe in the “Historic Organs of Europe” series ofOryx Recordings, ORYX 511.

11. In at least one instance a movement in anorgan voluntary published in the eighteenth-centu-ry in E major does originally seem to have been inanother key. The middle (Horn) movement of avoluntary published in c. 1780, by Edward Kendallof Falmouth, seems to have been transposed into Emajor from its original key, perhaps as a studentexercise. See my article cited above, “Before theFirst Lesson,” p. 82.

12. See Maurice Greene, Voluntaries and Suitesfor Organ, edited by Gwilym Beechey (Middleton,WI: A-R Editions, 1975), Voluntary No. XII in Emajor.

13. Jennifer Bate’s From Stanley to Wesley wasoriginally issued as a six-CD set on the Unicorn-Kanchana label DKP 9096, 9099, 9101, & 9104–6and has subsequently been reissued as a five-CDset on the Regis Records label RRC 5002. In thesix-CD set Walond’s Voluntary in B minor is foundon the second CD (DKP 9099), and in the five-CDset it is found on Volume 2, Disc 1.

14. This is, for example, what John Marsh sug-gests in his treatise on organ playing, arguing thatTrumpet movements should not modulate: “As thereal Trumpet is not capable of modulating into dif-ferent keys . . . Trumpet pieces should therefore bevery short; or else . . . a transition had better bemade for that purpose to the Flute, (in a minor key)the Swell or Choir Organ, after which a return maybe made to the Trumpet.” John Marsh, Preface toEighteen Voluntaries for the Organ (London: Pre-ston & Son, 1791), p. 3. It is perhaps of interest inthis connection that Marsh—a lawyer by professionand an organist in his spare time—was the assistantorganist of William Walond, Jr., at ChichesterCathedral.

15. Marsh seems to suggest that the full organwas sometimes used at the end of such movements,noting that in Trumpet voluntaries, “The Bassshould chiefly be played on the Diapason, Dul-ciana, Principal, and Flute of the Choir organ,except now and then by way of Contrast, particular-ly toward a grand Close, when the Trumpet bass(qualified by the Principal) or Full Organ may beintroduced with great effect.” Marsh, Preface, p. 2.

16. On this subject see H. Diack Johnstone, “TheEnglish Beat” in Aspects of Keyboard Music: Essaysin Honour of Susi Jeans, ed. Robert Judd (Oxford:Positif Press, 1992), pp. 34–44.

17. It is found on volume 3 (DKP 9101) of theUnicorn-Kanchana six-CD set, and on volume 1 onthe Regis Records five-CD set (RRC 5002).

Example 5. William Walond, Voluntary in D minor and major, Op. 2, No. 4, bars52–55

registration on the Swell with Choirbass or on the Diapasons and Principalof the Great Organ.

The seventh voluntary in Opus 2 isanother very strange one. It is a single-movement voluntary consisting of aFugue in B-flat. Second Voluntaries, foruse after the service, did not alwayshave introductory movements, andsometimes consisted solely, like thisone, of a fugue. Fugues were usuallyplayed on full organ, and though thereare again no suggestions for registrationin the original, full organ is probably theregistration that Walond would haveused. Although quite short, it is a rathercomplicated and academic fugue, with avery tedious subject consisting mostly ofthe same notes repeated two or threetimes. It contains quite a few old Eng-lish beats, printed like inverted mor-dants but to be played as invertedshakes beginning on the lower auxil-iary.16 It seems somewhat archaic instyle for a mid-eighteenth-century vol-untary. The piece seems hardly to beworth the effort of learning it except,perhaps, for its value as a historicalcuriosity.

Voluntary No. 8 is another fugue, thistime in C major, but considerably moreaccessible and in its way very pleasant.The same may be said of Op. 2, No. 9,the Voluntary in E flat major, althoughthis time there is an introductory Ada-gio movement as well as the Allegrofugue. Both these movements wouldnormally have been played on fullorgan. In Voluntary No. 9, however,Walond marks the first movement “Dia-pasons or Full Organ,” but the reasonfor him specifying the alternative “Dia-pasons” registration is by no means clearfrom the character of the piece.

The tenth and final voluntary in thesecond collection is a two-movementVoluntary in A minor, another FirstVoluntary. It begins with a slow move-ment on the Swell and segues into asprightly Allegro for the Flute stop. Thisis another of Walond’s finer voluntaries,and like Op. 2, No. 2 it has been record-ed by Jennifer Bate in her From Stanleyto Wesley set of recordings.17

ConclusionIn conclusion it is perhaps worth

stressing that most organists in eigh-teenth-century England improvisedtheir voluntaries in church, includingeven fugues, as the leading Frenchorganists still do today. Indeed, theword voluntary originally meant animprovisation. Voluntaries were nor-mally only written down as compositionsfor one of two reasons—either for a spe-cial recital such as the dedication of anew organ, or as practice pieces to assiststudents in learning how to improvisetheir own voluntaries. As an organistworking in the University of Oxford,Walond doubtless had the didacticmotive very much in mind in publishinghis two sets of voluntaries. There is acase to be made for William Walondhaving been among the finest com-

22 THE DIAPASON

Choosing a builderSituated next to the famous Isle de la

Cité, the Isle Saint-Louis in Paris,France, is known for its quaint shops anddelicious Berthillon ice cream. Uponentering its church, one is struck by thewell-lit interior, a drastic contrast to theinner darkness of the nearby Notre-Dame Cathedral. Bernard Aubertin’sorgan case shines brilliantly in the Saint-Louis-en-l’Isle Church. (See Photo 1.)

The original 1745 Lesclop organ hadbeen melted down during the Revolu-tion in 1789. In 1798, the church wassold as a national property. In 1817, thecity of Paris purchased the church andcleaned it. In 1888, the parish priest,abbot Louis Bossuet, acquired a neworgan case, which was placed at the endof the nave. Its first level later lodged asmall 15-stop Merklin organ. In 1923,Charles Mutin installed a 34-stop organin this vast organ case. According to theorganist Marie-Thérèse Michaux, it wasin such poor condition when she arrivedin 1975 that she was obliged to play onthe Gutschenritter choir organ.

In 1976, the city of Paris began toplan the purchase of a new organ for theSaint-Louis-en-l’Isle Church, one espe-cially suited to the 17th- and 18th-cen-tury Germanic repertory, notably themusic of Johann Sebastian Bach.1 In1977, Georges Guillard2 was named as asecond organist of the church. Helaunched a project for the new organthat proposed the German builder Jür-gen Ahrend, well known authority onBaroque-style organs. An associationwas founded with Monsieur HenryEcoutin as president. According toJean-Louis Coignet, the technical advi-sor for historical organs of the city ofParis since 1979, at that time the rulesfor constructing an organ in Paris werenot very strict, and the city had intend-ed for Jürgen Ahrend to build thisorgan. Unfortunately, various disagree-ments between the builder and theadministration, notably with the headarchitect who did not approve Ahrend’sproposed organ case, led to postponingthe project on numerous occasions.

In the meantime, the legislation con-cerning public markets and transactionshad become much more rigorous. InJuly 1997, it was therefore necessary tolaunch a competition to determine thebuilder of this new organ. Jean-Louis

Coignet established a program of workfor the invitation to tender, detailing the41 stops to be included in this three-manual organ:3

RÜCKPOSITIV (56 n.)8 Principal8 Gedackt8 Quintatön4 Octave

4 Rohrflöte2 Waldflöte

11⁄3 SifflöteII SesquialteraIV Scharf8 Krümhorn

HAUPTWERK (56 n.)16 Principal16 Quintadena8 Oktave

8 Salicional8 Rohrflöte4 Oktave4 Spitzflöte

22⁄3 Nasat2 Oktave

IV–VI Mixture 16 Dulzian

8 Trompete

OBERWERK (56 n.)8 Gedackt4 Principal4 Rohrflöte2 Oktave

13⁄5 Terz11⁄3 QuintIII Zimbel8 Vox Humana

PEDALWERK (30 n.)16 Principal16 Subbass8 Oktave4 Oktave2 Nachthorn

IV Mixture32 Dulzian16 Posaune8 Trompete4 Trompete2 Cornet

Accouplements: OW/HW, RP/HW,OW/PW, RP/PWTremblants: RP et OW

Around a dozen European organbuilders submitted proposals. Unfortu-nately, Jürgen Ahrend committed anerror during the tendering and, conse-quently, was disqualified. On January28, 1999, the city chose the Frenchbuilder Bernard Aubertin.

Bernard Aubertin, Organ Builder,Maître d’Art

Bernard Aubertin (see Photo 2) wasborn into a family of woodworkers goingback to the Napoleon Bonaparte era,originally from Moselle. After studyingin Strasbourg, he designed organ casesfor various firms, notably for the Fels-berg Orgelbau in Switzerland. In 1978,at the age of 25, he founded his owncompany to build mechanical-actionorgans with top quality materials in atraditional manner.4 He installed hisshop in two large wings of a historicRomanesque priory dating from themid-twelfth century in Courtefontaine,the region of eastern France known asthe Franche-Comté, in the departmentof the Jura (between Dijon, Dole andBesançon). A fervent collector of 0.60 mgauge railway equipment, several nar-row tracks on his property enable him toeasily transfer heavy equipment andmaterials. He now employs up to 14workers, including his wife Sonja, who ishis secretary and accountant. In 1995,the French Cultural Minister namedBernard Aubertin Maître d’Art. OnNovember 10, 2005 the city of Parisgave him the Médaille de Vermeil.

Aubertin organs are installed in thefollowing locations in France, Portugal,Scotland and Japan: the Besançon Con-servatory (1979 and 1981), the churchesin Sarralbe (1987), Viry-Châtillon(1989), Saint-Vincent in Lyon (1994,with Richard Freytag), Saessolsheim(1995), Vertus (1996), Sainte-CatherineChurch in Bitche (1997), Saint-Loup-sur-Thouet (1998), Saint-Cyr-sur-Loire(1999), Saint-Marceau in Orléans, theNice Conservatory (2001), Saint-Louis-en-l’Isle in Paris (2005), a 24-stop houseorgan in Faro, Portugal (2003), the Uni-versity in Aberdeen, Scotland (2004),and for concert halls in Japan: in Shi-rane-Cho (Yamanashi, 1993), Kobe(destroyed in the 1995 earthquake),Ichigaia, Karuizawa and Zushi.5Bernard Aubertin has also restored his-toric organs with a strict adherence totheir original nature in Pontarlier(1982), West-Cappel (1984), Arbois(1985), Orgelet (1987), Seurre (1991),Saint-Antoine-l’Abbaye (1992) and

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A New Aubertin Organ in the German Baroque StyleSaint-Louis-en-l’Isle Church, Paris, France Carolyn Shuster Fournier

Photo 1: The Bernard Aubertin organ at the Saint-Louis-en-l’Isle Church in Paris(photo: Jean-Claude Crespin)

MARCH, 2006 23

Saint-Martin-de-Boscherville (1984). Inaddition, he builds cabinet organs.6

Instead of constructing direct copiesof 17th- and 18th-century historicorgans from northern and centralEurope as well as France, Aubertin usesthem as inspiring models. The craft logoof the Aubertin organ firm sums up hisproduction: it depicts an oak tree beingblown by three forge bellows at its roots,with songbirds perched in its branches.(See Photo 3.)

His organs are made of natural mate-rials: solid French oak for the organcases, the windchests, the wind trunks,the sliders, the trackers, stickers, back-falls and for parts of the stop action;some of the bass pipes are made withchestnut, fruit tree or spruce wood. Thesliders are made as wind-tight as possi-ble with covers of soft leather; the stopaction may be set between pads of felt,and the lower parts of the windchestsare sealed with large cowhides. Themetal pipework is made mainly of alloyswith a low tin content (35% or less).Some narrow-scale stops, such as theGambe, the reed stops, and the façadepipes may contain up to 75 to 96% tin.All of the metal pipes are varnished toprotect them against handling and long-term oxidation.

Among the unusual stops found inAubertin’s organs, the Quintinal is aQuintadena in the bass and more string-like in the treble. At his organ in Vichy,the 32 reed stop in the Pedal is labelled“Napoleon.” His use of imitative har-monic flute pipes, overblown withoutpiercing, such as the 2 Traversine at theSaint-Marceau Church in Orléans, is acopy of a 17th-century stop in the Jaco-bikirche in Hamburg. For his three-manual, 27-stop organ at the Universityof Aberdeen in Scotland, he incorporat-ed two little pipes that imitate the bag-pipe drone. (See Photo 4.)

Several of Aubertin’s organs (Vertus,Orléans and Saint-Louis-en-l’Isle) aretuned in the mild 1800 Young tempera-ment with six pure and six temperedfifths, suitable to a large part of theorgan repertory. His organ at the Saint-Denys Church in Viry-Chatillon istuned in the Kirnberger III tempera-ment. The pitch is often set at A=440Hz. The balanced, suspended key actionis light and responsive. His standardwind pressure for the manual divisionsis 95 mm (33⁄4 inches), and for the pedalgenerally 105–115 mm (43⁄8 inches). The56-note keyboards are covered withboxwood, ebony or bone. The 30-notepedalboards are straight. The Positifkeyboard is coupled to the primarymanual à tiroir (in a drawer fashion).

Aubertin has a special talent fordesigning each of his organ cases toblend harmoniously with the building.He often incorporates particular deco-rative emblems (often various astro-nomical elements: stars, planets andflames of fire) into his sculptured ele-ments. At the Saint-Louis-en-l’IsleChurch, the Trinitarian symbol in theglory that is located in the apse isreproduced in the center panel of theorgan case. Likewise, the mysticallamb that overhangs the Positif de Doscorresponds to the lamb on the altar.

Another one of Aubertin’s characteris-tic hallmarks: the pipe mouths of histower pipes are often decorated withdancing golden flames. In addition, helabels the names of the stopknobs inhis own handwriting, in a dark blue (aPrussian blue) and red ink on paper orparchment.

The construction and installationof the new Aubertin organ at theSaint-Louis-en-L’Isle Church

In accordance with Jean-LouisCoignet’s initial invitation to tender,Bernard Aubertin had the possibility ofmaking a limited number of modifica-tions in the stoplist, providing that thenumber of stops did not exceed 45. Itwas also possible to propose limitedchanges in the tonal plans, for example,an Unterwerk instead of an Oberwerk.On March 12, 1999, Aubertin submittedan estimate of a 41- or a 45-stop organ.

The latter was accepted on August 20,the feast day of St. Bernard. The firstorder of service for this 45-stop organwas signed by Jean-Louis Coignet, thetechnical advisor for historical organs,on August 25 (the feast day of St. Louisand Aubertin’s birthday). The work offi-cially began on the organ on September27, with a delivery deadline of 30months. Aubertin collaborated well withJean-Louis Coignet and FrançoisLagneau, the architect of the historicalmonuments. However, since the Saint-Louis-en-l’Isle Church is classified as ahistorical monument, the various archi-tectural agreements and work concern-ing the restoration of the tribune, thestaircases, the arches and the twostained-glass windows near the organtook a great deal of time, three yearslonger than anticipated.

From March 2000 to September2001, the work was interrupted because

the Mutin organ had not been disman-tled, rendering it impossible to measurethe organ tribune, necessary to deter-mine the exact layout of the new organ.The city decided to restore and reincor-porate two statues of angels from theformer organ case into the new one.Discussions began with Aubertin to addsix more stops to the new organ.According to Aubertin, in spite of anobtained tacit agreement, the futureMay 2001 elections paralyzed any offi-cial document concerning these addi-tional stops. From January to August2002, the work was interrupted again tocarry out the photogrammetrical mea-surements of the church. In August2002, Aubertin visited several early his-torical German organs with the Ameri-can organ builder Gene Bedient,notably the 1750–1755 Gottfried Silber-mann at the Hofkirche in Dresden andthe 1746 Zacharias Hildebrandt organat the St. Wenceslas Church in Naum-burg. These visits enabled him tochoose the six new stops he wished toinstall in the Saint-Louis-en-l’Isle organ.From September 2003 to October 2004,other numerous delays occurred toallow the restoration of the tribune.

In the meantime, Aubertin construct-ed this organ with the six new addition-al stops: Allemande 4 in the Rückposi-tif, Cornet VI in the Hauptwerk, Sifflet1 and Unda Maris 8 in the Unterwerk,and Bourdon 16 , Bourdon 8 and aTierce rank to the Mixture IV–V in thePedal. He considers that these additionsprovide supplementary musical possibil-ities and augment the flexibility of theinstrument for interpretation andimprovisation. He explains them in thefollowing manner:

The Rückpositif Flûte allemande ismade of stopped pipes of triple length. Itssonority recalls the attacks and the strangesounds of the glass harmonica, whosemoving glass containers are made tovibrate with the musician’s moistened fin-gers. This stop combines very well withthe others, adding its characteristic attack.

The Hauptwerk Cornet, known as amaritime cornet because it is used alongthe coast from the English Channel to theBaltics, includes two 8 ranks in this six-rank stop: one 8 is open and the other oneis stopped with very long chimneys. Thissolo stop fills out the upper range of thekeyboard. Its average-size pipes provide acertain elegance. It can easily be com-bined with the two Hauptwerk reeds toform a sort of Grand Jeu.

In the Oberwerk, the Sifflet 1 , found innumerous organs played by J. S. Bach, isthe highest pitched stop in the organ andreaches the limit of audible sounds. Its usewith other stops allows sonorities close tothat of certain percussion instruments,metallophones (Stahlspiel) or small bells.The Unda Maris 8 , an undulating Princi-

Yale Institute of Sacred Music

2006 Summer Study

Photo 3: Aubertin logo

Photo 2: Bernard Aubertin in his workshop (photo: Sonja Aubertin)

II. GRAND-ORGUE(HAUPTWERK) (56 n.)

16 Principal (façade pipes)8 Octave8 Gambe8 Flûte4 Prestant4 Flûte cônique

22⁄3 Quinte2 Octave

IV–VI MixtureVI Cornet (Open 8 , Chimney Flute 8 ,

4 , 22⁄3 , 2 , 13⁄5 )16 Basson

8 Trompette

III. INTERIOR POSITIF(UNTERWERK) (56 n.)

8 Bourdon8 Principal (beginning at F)8 Traversière (overblown)8 Unda Maris4 Octave4 Flûte

22⁄3 Nazard2 Traversine2 Octave1 Sifflet

13⁄5 Terz11⁄3 QuinteIII Mixture8 Voix humaine

16 Fagott

PEDALE (30 n.)16 Bourdon16 Principal16 Violon

102⁄3 Quinte8 Bourdon8 Octave4 Prestant2 Flûte 2

IV–VI Mixture (the Tierce rank was added)32 Dulciane16 Buzène

8 Trompette4 Cornet

Keyboard couplers : I/II (à tiroir), III/II,II/IIIPedal coupler: Great to PedalTremulant I et III et Tremulant IIAppel Anches PedalExpression for the Voix humaine

InaugurationIn May, two new organists were cho-

sen to share this post with the organistMarie-Thérèse Michaux: Vincent Rigot7

and the 20-year-old Benjamin Alard.8On June 19, the organ was blessed by anauxiliary bishop in Paris, MonseigneurPierre d’Ornellas, and the parish priest,Father Gérard Pelletier. During thisceremony, the three church organistsimprovised and performed, and GeorgeGuillard premiered a commissionedpiece by Jacques Castérède entitledL’Hommage à Saint Louis for organ andbrass trio. On June 22, this organ wasinaugurated by Benjamin Alard, VincentRigot, and Michel Chapuis. Alard per-formed Buxtehude’s Ciacona in C-minor, Rigot interpreted Alain’s Lita-nies, and Chapuis’ improvisations

demonstrated the various tonal colors ofthe organ. He then played works by Bux-tehude, Böhm, Bruhns, and Bach. Arecording of J. S. Bach’s ClavierubüngIII by Francis Jacob, a member ofBernard Aubertin’s team, was releasedfor the inauguration of the organ.9

On September 18, 2005, a day conse-crated to historical monuments inFrance, Aubertin gave a presentationwith Régis Allard, and then VincentRigot improvised and gave a concert fora packed church. The organ associationof the church,10 presided by MonsieurRobert Ranquet, organized five concertsfor the first Europa Bach Festival inParis and its region from September toDecember 2005. They were given bygiven by Pascal Rouet, Carolyn ShusterFournier, Eric Ampeau, Frédéric Des-enclos and Francis Jacob.

The search for a patronNow that the Saint-Louis-en-l’Isle

organ is installed and inaugurated, willthis organ continue to sound as thebuilder conceived it, remaining intactfor present and future generations? Ifthe funding does not arrive after oneyear, Bernard Aubertin has said that hemight be obliged to remove the addedstops from the organ, even though heconsiders them to be indispensable tothe entire balance of this instrument.He hopes that a patron will eventuallycover their expense, amounting to170,000 euros.

It took 23 years to choose a builder forthe organ at the Saint-Louis-en-l’IsleChurch and six years to construct andinstall this instrument. During those 29years, from 1976–2005, the city of Parisfinanced the construction of other neworgans at Sainte-Jeanne-de-ChantalChurch (Alfred Kern, 1977), Saint-Jean-Baptiste-de-Grenelle Church (ThéoHaepfer, 1988), the reconstruction ofthe monumental gallery organ at Saint-Eustache Church (Van den Heuvel,1989), Notre-Dame-du-Travail Church(Théo Haepfer, 1990), Saint-Pierre-de-Chaillot Church (Daniel Birouste,1994), Saint-Ferdinand-des-TernesChurch (Pascal Quoirin, 1995), the Con-servatoire Supérieur de Paris-C.N.R.(Gerhard Grenzing, 1996) and at Notre-Dame-du-Perpétuel-Secours Church(Bernard Dargassies, 2004). In addition,the city of Paris financed numerousrestorations and renovations.

This article renders homage to thevarious members of Aubertin’s teamwho worked on this organ at Saint-Louis-en-l’Isle: cabinetmakers LoïcGaudefroy (Best Worker in France),Thomas Gaudefroy, and Thomas Guin-chard; organ builders Michel Gaillard,Olivier Mondy, Jean-Marc Perrodin,Daniel Rey, and Anke Saeger-Blaison;pipemaker Jérome Stalter (Best Worker

pal stop known since the sixteenth century,in Dresden and Naumburg, is used in fan-tasies and certain meditative piecesthroughout the centuries. Its combinationwith the foundation stops is appropriate forromantic and contemporary music.

In the Pedal, the Bourdon 16 is a soft,deep stop that can fill out the others with-out adding heaviness to the entire sound.The large and soft Bourdon 8 with theBourdon 16 allows a clear and light bass, itgives clarity without dominating the Violon16 or the Principal 16 and gives theimpression of a 32 when used with theBourdon 16 and the Quinte 102⁄3 . Theaddition of the Tierce rank to the PedalMixture adds spice and definition to thesound of these pipes, located at theextremities of the organ case. This mixturecan also serve as a cantus firmus when usedwith the Prestant 4 .

In addition, Aubertin added an AppelAnches Pedal at the console that allowsthe organist to prepare powerful pedalstops and then to add them by simplyactivating this pedal. This is extremelyuseful with sudden dynamic changes,often encountered in North GermanBaroque music. In addition, the Voixhumaine stop on the Unterwerk isenclosed in a box whose cover can beopened by activating another pedal.

On November 11, 2004, the complet-ed organ was inaugurated in theAubertin workshop by Francis Jacob,organ professor at the Strasbourg Con-servatory and an organ consultant for theAubertin firm. In December, MichelChapuis played it for a delegation fromthe city of Paris. Finally, in February2005, the organ was transported to Paris.On March 2, the sub-director of the pat-rimony of the city of Paris authorizedAubertin to install the six previouslyapproved stops, at his own personal risk.The city had spent all of their remainingfunds for this construction on the con-siderable amount of work that had beencarried out by the architects. The organinstallation was completed on March 11.After the tuning and voicing of theinstrument, the city acknowledged itsreception of the 45 agreed-upon stopson March 18. After some final minoradjustments, the official reception of thisorgan took place on May 9.

Here is the stoplist of this 51-stoporgan, with the six added stops in italics:

I. POSITIF DE DOS(RÜCKPOSITIF) (56 n.)

8 Montre8 Bourdon4 Quintaton4 Prestant4 Flûte à cheminée4 Allemande (an overblown Bourdon)2 Flageolet

11⁄3 FlûteII SexquialteraIV Mixture8 Dulciane

in France); organist Francis Jacob;apprentice Alexandre Aubertin; andadministrator Sonja Aubertin; as well ascraftsmen: Serge Bisson who did thewood carvings; Benoït Camozzi, theassistant sculptor; and Marie-OdileValot-Degueurce, who applied the gild-ing to the decorations.

The author thanks Bernard Aubertin,Jean-Louis Coignet, and Robert Ran-quet for providing her with informationfor this article. �

Notes1. Jean-Louis Coignet, “Les Orgues de Tribune

de Saint-Louis-en-l’Isle,” Les Grandes Orgues deSaint-Louis-en-l’Isle, Paris: Association des GrandesOrgues de Saint-Louis-en-l’Isle, Action artistique dela Ville de Paris, 2005, p. 6.

2. Titular of the Alfred Kern gallery organ at theNotre-Dame-des-Blancs-Manteaux Church in Parissince 1971, Georges Guillard is Director of theEarly Music Department at the ConservatoireNational de Région in Paris. In 1984, he foundedthe Cantate à Saint-Louis, which became the Cam-erata Saint Louis de Paris. He recently steppeddown from his organ post at the Saint-Louis-en-l’Isle Church to conduct all of J. S. Bach’s cantatas(cf.: www.camerata-saint-louis.com). Doctor inMusicology, he is notably the author of J. S. Bach etL’Orgue (Bourg-la-Reine, Zurfluh, 2000).

3. Jean-Louis Coignet, “Orgue destiné à l’EgliseSaint-Louis-en-l’Isle,” s.d.

4. Bernard Aubertin’s address: Manufactured’orgues Bernard Aubertin, L’ancien Prieuré, 9700Courtefontaine, France. Tel. 33 (0)3 84 81 32 66;Fax 33 (0)3 84 71 19 42; e-mail: <orgues.aubertin@wanadoo.fr>.

5. Bernard Aubertin is currently building athree-manual, 28-stop organ for the Saint-JacquesChurch in Neuilly (a western suburb of Paris). Hehopes to install it there in spring 2006. For moreinformation on his production, cf. <http://forumorgue.free.fr/phpwebgallery/category.php> (forphotos of the Saint-Louis-en-l’Isle organ),<http:/perso.wanadoo.fr/asamos> (Saessolsheim),<www.orgue-st-marceau.com> (Orléans) and<www.multimania.com/orguever/> (Vertus).Among the 100 CDs of organs built by the AubertinAtelier, cf. the J. S. Bach organ works by Olivier Ver-net–Saessolsheim, Vertu, Vichy and St. Vincent inLyon (Ligia Digital, Lidi 0104081-99) and FrancisJacob’s Bach record of Saessolsheim (2000, Zig ZagTerritoires, ZZT 001001 (1), <www.wig-zag-territoires.com>.

6. Among his various cabinet organ models: a51-note keyboard (C–d ) with a wooden Bourdon8 , a short octave with transposing pitch at 415–440and at 392; another with three to five stops. A two-or three-stop organ with only horizontal woodenpipes is also available.

7. Vincent Rigot studied at the Conservatoirenational supérieur de Musique de Paris, where hereceived six first prizes: in analysis, harmony, coun-terpoint, fugue, organ and the direction of Gregori-an chant. He was a finalist in the 1997 Paris Inter-national Organ Competition, obtained a First Prizein Improvisation at the Regional Competition in theIle-de-France and the Grand Prix Boëllmann-Gigout at the 1996 Improvisation Competition inStrasbourg.

8. Benjamin Alard received a médaille d’or atthe Rouen Conservatory where he studied withLouis Thiry and François Ménissier. He has partici-pated in several masterclasses, notably those of JeanBoyer. In 2004, he won the Bruges InternationalHarpsichord Competition. He is currently studyingat the Schola Cantorum in Basel, Switzerland.

9. Two other recordings of this organ will soonbe released: J. S. Bach’s The Art of the Fugue byRegis Allard for Stil Productions and a BuxtehudeCD by David Kinsela from Sidney.

10. One can write to Monsieur Robert Ranquet,President of the Association des Grandes-Orgues deSaint-Louis-en-l’Isle, at the church’s address, 3, ruePoulletier, 75004 Paris, France.

Carolyn Shuster Fournier is a French-American organist and musicologist living inParis, France where she is titular of the Aris-tide Cavaillé-Coll choir organ at La TrinitéChurch. An international concert organist,she wrote her doctoral thesis on AristideCavaillé-Coll’s secular organs. Her writingson French music and organs have appeared innumerous journals.

The Aubertin organ of Saint-Louis-en-l’Isle, Paris

by Bernard Aubertin, Organbuilder,Maître d’Art, English translation by Car-olyn Shuster Fournier

IntroductionThe new 51-stop organ that I have

built for the Saint-Louis-en-l’IsleChurch in Paris is in the style of a 17th-to 18th-century German instrument. Idesigned it according to the mostrenowned works of J. S. Bach’s favoriteorganbuilder Zacharias Hildebrandt(1688–1757), a student of Gottfried Sil-bermann. The balance between the var-ious families of stops, with its 16 , 8 , 4stops and a 32 reed stop in the Pedal, isentirely in keeping with the cantor’swishes: Majestät und Gravität.

This organ incorporates some ofHildebrandt’s innovative stops: the Vio-lon 16 (in the Pedal) and the Gemshorn4 (the Hauptwerk Flûte cônique) as well

24 THE DIAPASON

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of the Buzène 16 and Violon 16 pipesare made of spruce from the Vosges.The principal stops have a clear sound inspite of their rather high mouths. All ofthe wooden pipes have metal lips, that is,the inner edge of the lower lip is planeddown and garnished with a metal bar,thus providing:

• an immediate attack;• a high development of harmonics,

notably in the lower pipes, where thehuman ear can scarcely distinguish theprecise pitch of the notes;

• finally, a considerable economy ofwind, which is very important in thelower registers of the manual keyboards,limiting the key depressions and main-taining a light touch.

The metal pipework is voiced as natu-rally as possible with a minimum of nick-ing on the languids. The feet are slightlyclosed in the bass pipes.

The design consisted, more of less, ofa quadruple plenum:

• the Hauptwerk plenum is deep, fulland effective and can be reinforced bythe Basson 16 reed stop;

• the Rückpositiv plenum has a muchclearer attack, is very present and can becolored by the Sexquialtera II;

• the Unterwerk plenum is morerestrained, but can be brightened by theQuinte 11⁄3 , the Sifflet 1 , the Terz 13⁄5 ordeepened by the Fagott 16 ;

• finally, the Pedal plenum is deep,dark, and full, and can be spiced with theMixture Tierce.

Each principal stop possesses its own

characteristic sound, in accordance withthe previously described divisions.When the 16 , 8 and 4 principal stopsare played together with the 16 and 8Bourdons and the Quinte 102⁄3 , they pro-duce a deep, full and poetic sound.

In addition to these standard stops,there are colorful flute stops, harmonic,with or without holes, and a very narrow-scaled Gambe in the Hauptwerk with itscharacteristic attack. The Rückpositivcontains a third 4 stop named (Flûte)Allemande. This is, in fact, a harmonicBourdon whose body length is triple thatof an ordinary Bourdon. This stop recallsthe Glasharmonika with its strangeattacks and its succession of rich har-monies. The same applies to the Traver-sine 2 with its double length without ahole whose crystalline sonority is dou-bled by a supplementary pseudo-loweroctave sound.

Some of these stops are unknown inFrance and yet they were used as earlyas 1560 in northern Europe. As for theUnda Maris on the third keyboard, italso appeared as early as the mid-16thcentury from Italy to Scandinavia underdifferent names: Voce Umana, Biffera,Piffaro, Unda Maris, Schwebung. Thisstop allows sounds that are clearly lessBaroque. Finally, a colorful Violon 16 ,with its precise attack, provides defini-tion to the Pedal division.

The tuning of the organ is A=440 Hzat 20°C. The organ is well-temperedwith six pure fifths and six temperedfifths according the system of Thomas

as some Nordic contributions: in theRückpositiv, the Sexquialtera II is nar-row-scaled, the Mixture IV is a high-pitched Scharf, the Flageolet 2 is aWaldflöte, the Dulciane 8 is an Oboe(Hoboe); in the Unterwerk, the Fagott16 is a Dulcian, and in the Pedal, theCornet 4 recalls the Cornet 2 , as well asthe Dulciane 32 reed stop in the Pedal,which Gottfried Silbermann never built.In addition, this new organ containssome colorful stops described in Praeto-rius’s Syntagma Musicum (1619), notablya Querpfeif (the Unterwerk Flûte Tra-versine 2 ) and the Schweitzerpfeif (theHauptwerk Gambe 8 ).

The entire organ uses mechanicalaction and is constructed with noblematerials, solid oak and chestnut woods.Knowledge of the practices of our pre-decessors is absolutely indispensable,especially since they were based on asensibility that is completely differentfrom our own.

Technical Description

The organ casesWhile the organ case conforms more

to the curved surface of the 1745 organgallery than to that of a German organ,its internal structure was conceived in aspirit that respects the Werkprinzip:the Rückpositiv projects over thegallery rail, the Unterwerk is placedabove the keyboards, surmounted bythe Hauptwerk, with the large 16 pedaltowers on the sides.

The windchests The various windchests are laid out in

the following manner:The Rückpositiv is at the level of the

organ gallery.On the first floor of the gallery, the

Pedal foundation stops are placed in thefront part of a large double windchestwith the reeds behind. The Dulciane 32is placed against the wall with the Violon16 on a similar chest underneath. In thecenter, two diatonic V-shaped wind-chests are used for the Unterwerk stops.

On the second floor, the Hauptwerkbass pipes are placed on three wind-chests in the center, followed by two dia-tonic windchests with the upper pipeslocated towards the center.

The mechanical key and stopactions

The mechanical key and stop actionsare as simple and efficient as possible.The 56-note keyboards are covered withbone for the natural keys and ebony forthe sharps. The 30-note flat pedalboardis made of oak.

The wind Due to the shallowness of the organ

gallery (and consequently the organcases) and to the total lack of adjoiningspace, the wedge-shaped bellows wereplaced near each of the windchests. Theblowers are suspended in two doubleisolated boxes placed on the floor of theorgan gallery, underneath the largepedal towers. A ventil pedal, which cutsoff the air in the pallet box, enables theorganist to bring on or put off the pre-pared stops. The wind pressure is 95 mmfor the keyboards and 115 mm for thepedal. This strong wind permits narrownote channels, trunks and conveyancesleading to pipes that are tubed off. Thewindchest pipe valves are relatively thin,allowing a sensitive touch.

The pipework—the voicingAll of the pipework has been made by

artisans. The following stops are made of75% and 96% fine tin:

• on the Hauptwerk: Principal 16 ,Octave 8 , Gambe 8 , Basson 16 andTrompette 8 ;

• on the Unterwerk: Unda Maris 8 ,Voix humaine 8 , Principal 8 andOctave 4 ;

• on the Rückpositiv: Montre 8 andPrestant 4 .

The rest is made of a tin-lead alloywith a high lead content or of hammeredlead, the languids of the flue pipes with3% lead. All of the capped pipes are sol-dered on. The wooden pipes are madeeither of oak or of chestnut. The bodies

Young (1800), based on the same princi-ple as the Tartini-Vallotti system(Venice, 1740).

The reed stopsOn the Hauptwerk, the conical Bas-

son 16 (C–G half-length) is narrowlyscaled, ranging from a deep to a brilliantsonority. In addition, a rather brightTrompette stop can be combined withthe double Cornet 8 to form a sort ofGrand Jeu. These reeds can be easilycombined with the plenum.

On the Unterwerk, a Fagott 16 with acylindrical body and leathered shallotscan serve as a foundation to the plenumbut can also be used for smaller combi-nations. A colorful Voix humaine 8 isinstalled in an individual expression boxthat tones down the upper harmonies ofthis Renaissance Régale. Combined withthe 16 , 8 and 4 foundations, this stophas the distinctive feature of swellingthese foundation stops when one opensthe box and thus offers possibilities thatare not Baroque at all.

The Rückpositiv contains a well-rounded and colorful Dulciane 8 thatcan be combined with any stop.

The Pedal is quite full, due to four ofits stops. A Dulciane 32 (from the fami-ly of stops with cylindrical-shaped bod-ies) provides the indispensable Gravitätso cherished by the Cantor from Leipzigin large ensembles. A Buzène 16 (neol-ogism of the Latin Buccin) provides afoundation for the entire building. If onecould only place one reed stop in theentire organ, this would be the one. Theconical shallots are made of casted tinand leathered. The feet and the blocksare made of oak, the bodies of spruce.All of these various elements combine toproduce a well-rounded and full soundwhose fundamental clearly stands outfrom the harmonics (contrary to theFrench Bombarde). Therefore, theupper harmonies have been weakened.The Trompette 8 with its conical-shaped reeds sounds well-rounded anddeep in the bass and progressivelybecomes brighter in the upper registers.This is reinforced by the Cornet 4 madeof tin, which is a very narrow-scaledClairon in the bass registers and wide inthe upper registers (in fact, the size ofthese thirty notes does not really differ).Each stop played alone sounds gentleand calm but when combined, the 16 , 8and 4 stops produce a majestic sound.

This instrument is by no means a copyof an ancient organ. It is not the latest infashion. It should be considered as a cre-ation in a given spirit, a creation thatwould likely bring to life a tradition with-out nostalgically claiming to bring to lifea particular period or any other allegedbygone golden age. �

MARCH, 2006 25

Whatever your standard – beginner, intermediate or advanced – this course offers you the opportunityto develop your skills. You can:

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The Royal School of Church Music, in conjunction with the St Giles International Organ School, presents:

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Photo 4: Bernard Aubertin organ at the University of Aberdeen, Scotland (photo:Nigel Allcoat)

26 THE DIAPASON

British and French Organ Music Seminars 2005 Christina Harmon

The FOMS group in front of the famous Cavaillé-Coll organ in Beaune, France, inthe heart of Burgundy

French Organ Music Seminar recitalists at St. Eustache in Paris with Jean Guillou

Guillou and Terry Flanagan after theconcert at St. Eustache

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The fifth British Organ Music Semi-nar, led by Christina Harmon and CliffVarnon, took place in England andWales from June 24–July 3. With JohnHosking, noted British concert organist,as guide, the group of 14 organists andtheir friends and spouses visited andplayed organs and attended Evensongsin London, Exeter, Truro, Wells, Bris-tol, Wales, Chester, Birmingham, andBlenheim. Well-known British organistsRichard Townend, Daniel Cook,Andrew Millington, Robert Sharpe,Matthew Owen, Philip Rushforth, andDuncan Middleton served as hosts andteachers to the group along the way forextended two-hour or more playing ses-sions at each organ. In addition tospending a whole day studying Britishand French music with John Hosking atthe St. Asaph’s Cathedral organ inWales, the group was treated to a fullafternoon of playing the Klais organ inthe Birmingham Concert Hall.

On July 3 the group took the Eurostarto Paris where they were joined by 32additional organists and their spousesand friends to begin the French OrganMusic Seminar, led by Marie-LouiseLanglais and Sylvie Mallet. That after-noon the group enjoyed a recital at NotreDame Cathedral by Angela Kraft-Cross,former participant of FOMS, and in theevening a session with Philippe Léfebvreat the Notre Dame organ.

Monday the group visited the Templedu St. Esprit with Kurt Lueders, thenwent to St. Etienne-du-Mont for ademonstration by Vincent Warnier, co-titulaire, followed by Christina Harmon’sperformance of “Agnus Dei” by ThierryEscaich. This piece was commissionedby FOMS member Bruce Westcott anddedicated to another FOMS member,his brother Michael Westcott. A longafternoon of playing this famous organ ofthe Duruflés followed the performance,assisted by Mr. Warnier.

On Monday night, FOMS participantsLois Holdridge, Terry Flanagan andColin Lynch joined Swiss organist TobiasWilli and Langlais students BeatricePiertot and Chung-A Hong at the churchof St. Eustache to present a concert ofworks by Guillou and Florentz to a largeaudience, with Jean Guillou in atten-dance, who provided personal remarks tothe program. After the concert FOMSparticipants joined Mr. Guillou for din-ner at a nearby restaurant.

Tuesday, July 5, at noon, FOMS par-ticipants Jason Farris, Jay MacCubbin,Samuel Gaskin, Tim Lyons, ColinLynch, David Erwin, John Walko, JuliaWalton, Jill Hunt, Mark Scholtz, JeremyTarrant, and Marko Petricic played arecital at the church of St. Roch. Theafternoon and evening were spent insmall groups with Marie-BernadetteDufourcet and François Espinasse atthe organs of La Trinité and St. Severin.

On July 6 the group gathered in themorning at the Schola Cantorum for apanel discussion on the works of Franck

with Kurt Lueders and Mmes Langlaisand Mallet. A masterclass on Franck fol-lowed, with organists Barbara Reid, JillHunt, Marko Petricic, and SamuelGaskin. In the afternoon group mem-bers Jason Branham, Samuel Gaskin,Louie Brewer, Bryan Jepson, SeanMcCarthy, and Ray Peebles presented aconcert on “The New Bach Organ forParis”—the Aubertin organ at Eglise St.Louis en l’Isle. Afterwards, members ofthe group either stayed to play on theBach organ, accompanied Kurt Luederson a special tour to play lesser-knownCavaillé-Coll organs of Paris, or wentwith Mme Langlais for a group lesson.

On July 7, groups alternated to studywith either Frédéric Blanc at NotreDame d’Auteuil or Sophie Choplin atSt. Sulpice. Scholarship contributorsenjoyed a special lunch at the Langlaisapartment. Later, participants in smallgroups received instruction and were

treated to brilliant improvisations byNaji Hakim at La Trinité, while othersgathered at the apartment of Mauriceand Madeleine Duruflé. At night wegathered again at St. Sulpice for DanielRoth’s lecture and concert.

On July 8 groups again alternatedbetween playing at Les Invalides and St.Sulpice, while others studied privatelyand in small groups at the RegionalConservatoire with Langlais and Mallet.The evening was spent with PierrePincemaille at the St. Denis Basilica.

On July 9, Saturday, we boarded abus to go to the Cathedral of St. Ouenin Rouen, hosted by Christophe Man-toux. Several people were able to play.On return Mantoux offered a specialimprovisation class for those who wereinterested; others had private lessonsin Paris.

From July 10 through July 16 MmesLanglais and Mallet took a smaller

group to Burgundy and Switzerland,where we were hosted in Burgundy byMaurice Clerc, organist of Dijon Cathe-dral, and played many wonderfulorgans, including the Dijon Cathedralorgan. We continued to Romainmôtier,where we spent the afternoon playingthe Alain organ.

The group spent a large part of oneday at the beautiful organ of the Ton-halle in Zurich. Designed by Jean Guil-lou, this contemporary organ is one ofthe most spectacular in Europe.

Another wonderful day was spent inLucerne with Wolfgang Sieber, organ-ist of the Hofkirche in Lucerne, whopresented the group with an incrediblecrowd-pleasing concert, including hisshow-stopping arrangement of “BridgeOver Troubled Waters,” complete withorgan effects guaranteed to win overeven the many organ purists among us.With his virtuoso arrangements andtheatrical gymnastics, coupled with theamazing organ of the Hofkirche, heattracts full houses at his concerts inLucerne.

Plans are underway for the 2007British and French Organ Music Semi-nars, with a special celebration inFrance in honor of the 100th birthday ofJean Langlais, which will include choralas well as organ events. Information willbe available beginning in July, 2006, at<www.bfoms.com>. �

Christina Harmon resides in Dallas, Texas,where she is organist at Park Cities BaptistChurch. She is a graduate of Oberlin Conser-vatory of Music and Southern MethodistUniversity and has done doctoral study atUnion Theological Seminary and the Univer-sity of North Texas. Her teachers includeRobert Anderson, Robert Baker, Dale Peters,Garth Peacock, Guy Bovet, BernadetteDufourcet, Naji Hakim, Daniel Roth, andJean and Marie-Louise Langlais. She isfounder of the French Organ Music Seminar.Since 1989, an outgrowth of the seminar hasbeen the production of videotapes in France.These videotapes cover French organs andorgan music history and include Langlaisplaying and teaching at his home and at theSchola Cantorum, Marie-Louise Langlaisteaching at the organ of Sainte Clotilde, andDaniel Roth teaching and playing at theorgan of Saint Sulpice. The videos and oneDVD are available for sale through theOrgan Historical Society.

Photo credit: Michael Bentley

on Palm Sunday, 2005.Visually, the organ is both majestic,

yet understated, in accordance with thechurch’s wishes and the design of thesanctuary. The console’s Gothic Revivaldesign is elegant and is a seamless aes-thetic fit. Everything about the work-manship is superb.

In November 2005, we officially dedi-cated the instrument with a concertplayed by Carole Terry, professor oforgan and harpsichord at the Universityof Washington School of Music in Seat-tle. Also featured was a commissionedpiece by British composer AndrewCarter for choir, soprano and organ,entitled O Sing to the Lord, based onPsalm 98.

The dedicatory recital marked the cul-mination of a project that more than metall of our expectations, and has given usan instrument that will inspire futuregenerations. This spring we will presenta Mozart festival on April 23 featuringvocal and instrumental music by thechurch’s Chancel Choir, the RoanokeCollege Choir, soloists and orchestra.For information: 540/343-3659; <www.spres.org>.

—Marianne M. SandborgOrganist, Second Presbyterian

Church, Roanoke, Virginia

MARCH, 2006 27

Cover feature

some colleagues in Charlotte, NorthCarolina about then-recent installationsin the area, it was decided that wewould visit the five recommendedchurches. Three of the five organs hadbeen built by Goulding & Wood.

Soon after, the pipe organ study com-mittee was formed and eventually visit-ed 14 church organ installations, metwith the representatives of four organbuilders, and traveled over 3,000 miles,in addition to holding monthly meetingsto discuss and evaluate its findings. Tobe thorough, we also studied the possi-bility of renovation, versus replacement,of our 1952 Moeller. Our research forboth ideas took place over the course oftwo busy years.

Our group’s final visit was toGreenville, South Carolina, where weheard the magnificent 67-rank organ atChrist Episcopal Church (Opus 35,2001), and met then-director of musicand composer Robert Powell, who wasextremely helpful and gracious. As withthe three organs in Charlotte, Goulding& Wood once again demonstrated howexpert the staff is in determining themost effective way of projecting sound,no matter what the acoustical challenges.After that important visit, we came hometo Roanoke and voted to build, versusrenovate; Goulding & Wood received aresounding affirmative vote.

From a sound standpoint, our Opus 43(2005) is most satisfying. The organ inte-grates German principal choruses,French color stops, and English accom-paniment stops. At the time that thedesign was conceived, the Choir divisionwas the most single-minded and stylisti-cally pure that Goulding & Wood hadproposed. Second Presbyterian has astrong choral program, and this divisionreflects the type of literature that is fre-quently performed. From Bach toMozart, Howells to Pinkham, includingeverything in between, the color range isbroad. Another significant feature is theChoir to Swell coupler, adding that muchmore texture to choral accompaniments.From a technical standpoint, the internalMIDI interface processor is a great luxu-ry, as are the 200 levels of memory. Last-ly, a basic function called “Scope” is fea-tured, which allows each piston on theconsole to control any group of stopsfrom the whole specification. Amongother features, each memory level has itsown scope for total flexibility.

An important characteristic of theorgan’s sound is its subtlety. Any changein registration is significant, yet beauti-fully and intelligently shaded. The lis-tener is also aware of the enormousrange of the instrument—from themusic performed during a hushed GoodFriday evening service to the majesty ofEaster morning. The organ’s palette ofcolor is completely versatile and seem-ingly unlimited. The early delivery andinstallation enabled us to use the organ

Goulding & Wood, Inc.,Indianapolis, IndianaSecond Presbyterian Church,Roanoke, Virginia, Opus 43 (2005)

From the builderEach church that undertakes an organ

project seems able to find a uniquemethod of tackling the monumentaltask, and as organ builders we are alwaysamazed at the panoply of approaches.Second Presbyterian Church ofRoanoke followed a path that took moretime than most, but in the end the entirecongregation became fully invested inthe instrument. Notable in the processwere the organ selection committeechair Joe Duckwall, fund-raising com-mittee chair Linda Star, parish adminis-trator Phil Boggs, property committeemember Whitney Markley, and ofcourse the staff musicians Jeff and Mar-ianne Sandborg.

Second Presbyterian Church has along and developed tradition of greatchoral singing, and the design of theorgan grew from the concerns specificto choral accompaniment. As with allGoulding & Wood organs, the humanvoice provided a paradigm for the tonalstyle: individual stops have an immedi-ate, singing quality, and ensembles sup-port voices by giving a firm foundationof pitch. To accomplish this, voicing isincisive, and the sustained tone devel-ops generous fundamental. Harshattacks or treble-heavy ensembles bothobscure the pitch and wear thin on theear. The power of the organ resides inthe 16 and 8 pitch stops, with theupperwork adding clarity and sparkle tothe foundation. Another hallmark of agood accompanimental instrument is awide variety of colors. To this end, wetake great care that no two stoppedflutes or trumpets sound identical.Throughout the organ we have maxi-mized the spectrum of color and volumein order to give the organist the greatestnumber of musical resources for thecreative shading of hymns, solo reper-toire, and accompaniments.

Each division uses Goulding &Wood’s unique design of slider-and-pal-let windchest. This action assists inachieving our goal of warm, gentlespeech through the use of pneumaticaction to pull the pallets that furnish airto the common key channels. The elec-tric key action allows for remote keyaction and a movable console. This flex-ibility in arranging the console positionis particularly useful when accommo-dating a variety of musical forces, froman organist conducting from the consoleto large choir with instruments and sep-arate conductor.

The organ is arranged in twin cham-bers on either side of the chancel withcases containing pipes from the Great 8Principal and Pedal 8 Octave in the dis-play. New tone openings were cut intothe walls facing the nave, allowing theorgan to also speak directly to the con-gregation through the nave façades.Casework is of stained white oak withquatrefoil fences topping the pipe tow-ers and sassafras roses lining the pipefeet. The console, also with casework ofwhite oak, includes a decorative woodmusic rack, bone and ebony keys, andwalnut drawstop jambs.

Since installation, the organ has beenfeatured in several events, including adedicatory recital by Carole Terry to acapacity crowd. We have greatly appre-ciated the opportunity to contribute tothe rich cultural and musical life ofRoanoke, and we look forward to con-tinuing our relationship with the goodpeople of Second Presbyterian Church.

—Jason Overall

From the organistIn 1999, we at Second Presbyterian

Church in Roanoke, Virginia, began toexplore the possibility of purchasing anew organ to replace the 25-rankMoeller that had served the congrega-tion since 1952. After consultation with

Goulding & Wood Opus 43 (photo by James C. Morris)

Opus 43 (photo by Robert Duffy)

Dedicatory RecitalCarole Terry

November 13, 2005

Prelude and Fugue in G Major,BWV 541, Bach; Unter den Lindengrüne, Sweelinck; Sonata No. 3 in AMajor, op. 65, Mendelssohn; Joie etClarté des Corps Glorieux (Les CorpsGlorieux), Messiaen; O Sing to theLord (Ps. 98, vv. 1, 5, 6, 7 and 8),Carter; Shall We Gather at the River,O Zion Haste/How Firm a Foundation(Gospel Preludes, Book 2, Book 4),Bolcom; Il n’est rien de plus Tendre,Dandrieu; Noël X, D’Aquin; Intermez-zo, Adagio, Finale (Symphony No. III,op. 28), Vierne.

Great (II, 31⁄2 wind pressure)16 Violone (50% tin)

8 Principal (30% tin; bass in façade)8 Violone (ext 16 Violone)8 Claribel Flute (poplar; open)8 Stopped Diapason (poplar and

30% tin)4 Octave (50% tin)4 Spire Flute (30% tin)

22⁄3 Twelfth (50% tin)2 Fifteenth (50% tin)

13⁄5 Seventeenth (50% tin)11⁄3 Fourniture IV (50% tin)

8 Trumpet (zinc/50% tin)8 Festival Trumpet (Choir prep)

TremoloGreat to Great 16–Unison Off–4

Swell (III, 4 wind pressure)16 Gedeckt (ext 8 Gedeckt)

8 Geigen Diapason (50% tin)8 Viole de gambe (50% tin)8 Voix céleste (50% tin; from low G)8 Gedeckt (poplar)4 Principal (50% tin)4 Clear Flute (poplar)2 Octave (50% tin)2 Flageolet (30% tin)

11⁄3 Quint (50% tin)2 Plein Jeu III–IV (50% tin) 1 Cymbale III (70% tin)

16 Basson-Hautbois (zinc/50% tin)8 Trompette (zinc/50% tin)8 Hautbois (ext 16 Basson-Hautbois)8 Voix humaine (50% tin)4 Clairon (zinc/50% tin)

TremoloSwell to Swell 16–Unison Off–4

Choir (I, 31⁄2 wind pressure)16 Conical Flute (ext 8 Conical Flute)

8 Diapason (50% tin)8 Chimney Flute (poplar and 30%

tin)8 Conical Flute (50% tin)8 Flute Celeste (50% tin; tenor C) 4 Fugara (50% tin)4 Spindle Flute (30% tin)

22⁄3 Nazard (30% tin; tenor C)2 Recorder (30% tin)

13⁄5 Tierce (30% tin; tenor C)11⁄3 Larigot (30% tin)

2 Mixture III (50% tin)8 Clarinet (50% tin)8 English Horn (zinc/50% tin)8 Festival Trumpet (preparation)

TremoloChoir to Choir 16–Unison Off–4

Pedal (4 wind pressure)32 Contra Violone (digital ext of 16

Violone)32 Contra Bourdon (digital ext of 16

Bourdon)16 Open Wood (pine and 50% tin;

tenor octave in façade)16 Bourdon (pine)16 Violone (from Great)16 Gedeckt (from Swell)8 Octave (ext 16 Open Wood)8 Bass Flute (ext 16 Bourdon)8 Violone (from Great)8 Gedeckt (from Swell)4 Choral Bass (50% tin)4 Nachthorn (30% tin)2 Mixture III (50% tin)

32 Contra Posaune (digital ext of 16Posaune)

16 Posaune (poplar resonators)16 Basson (from Swell)8 Trompete (zinc/50% tin)8 Basson (from Swell)4 Schalmei (zinc/50% tin)

CouplersSwell to Great 16–8–4Choir to Great 16–8–4Swell to Choir 16–8–4Great to Choir 8Choir to Swell 8Great to Pedal 8Swell to Pedal 8–4Choir to Pedal 8–4

Switching and combination action: SolidState Organ Systems multi-system with 200levels of memory, piston sequencer, andinternal MIDI interface with playbackdevice.

Pipework: metal principals and flutes 4C and higher from Jacques StinkensOrgelpijpenmakers, B. V. Other metal fluepipes and reeds from A. R. Schopp’s Sons,Inc. Wood pipes built by Goulding &Wood, Inc.

Cover photo by James C. Morris

28 THE DIAPASON

New Organs

Bedient Pipe Organ Company,Roca, NebraskaJohn Griffen Residence, Seattle,Washington

Flexibility is not the first trait thatcomes to mind when contemplatingcenturies of organbuilding tradition.But, to John Griffen, that attribute wascritical in choosing Bedient Pipe OrganCompany to build his residence organ.Based on our Phoenix model (one ofnine instruments in our Legacy Line),Opus 77 represents Bedient’s ability tolisten to customers and respond.

Opus 77 is a two-manual and pedalorgan with 12 stops, electric stop andcombination action, and mechanical keyaction. The case and external woodenpipes are made of mahogany, with theinternal wooden pipes made of poplar.The metal pipes are an alloy of 2% tinand 98% lead with the façade pipes fea-turing 23-karat gold-leaf gilding aroundthe mouths.

The keyboard naturals are toppedwith bone, and the accidentals withebony. Pedal naturals are made of whiteoak, and the accidentals are capped withmoridillo. Stopknobs are made ofcocobola. The pipe shade design, influ-enced by drawings by the FrenchBaroque painter Jacques Stella, featuresan acanthus leaf and shell motif; theshades are made of linden or basswood.Manual and pedal windchests are sliderchests. Some offset chests are tubularpneumatic, and others are electro-pneumatic, played by relay switchesfrom the manual windchests.

Because the instrument is located inthe Griffen residence, Bedient’s crafts-people first had to shrink the originalBedient Legacy Line Phoenix organ’salready compact size to fit into a roomonly 12 x 22 feet with a height of 9 8 .Our designer, Alan Baehr, accom-plished this by subtracting nearly a footfrom both case height and depth dimen-

sions. The specification of this instru-ment was modified to meet Mr. Grif-fen’s needs and wishes for playing organliterature. In this case, the Greatincludes a Rohrflute 8 in addition to thePrincipal 8 . Vibrant stops such as theMixture and Cromorne were omittedfrom the specification due to the mod-est space occupied by the organ. TheQuinte and Terz stops were put on thesecond manual instead of the first man-ual, where they usually reside on thePhoenix model.

Other modifications include Mr.Griffen’s request for a bass octave forthe Principal 8 , normally a tenor c stopon the Phoenix. Those extra woodenpipes of the Principal and the bass ofthe Rohrflute are located to the backand side of the organ case. The organalso includes a Zimbelstern.

Delivery, installation, and voicingwere in June 2005. John Griffen is cur-rently playing a series of dedicationrecitals for friends.

—Gene Bedient

GREAT8 Principal8 Rohrflute4 Octave2 Octave

SWELL8 Gedackt8 Salicional (tc)4 Spitzflute

22⁄3 Quinte2 Doublette

13⁄5 Terz

PEDAL16 Subbass

8 Flute

Couplers, etc.Great/PedalSwell/PedalSwell/GreatZimbelsternTremulant

Marceau remote keyboard next to the church’s Kenneth Jones organ

Marceau Opus XXV

Marceau & Associates PipeOrgan Builders, Inc., Portland, Ore-gon, has built a Choir Organ withremote console for St. Mark LutheranChurch, Anchorage, Alaska. Marceau’sOpus XXV, which was completed in2005, comprises one manual of 56notes. This organ was installed in therear gallery of the church to allow forthe choir to assemble and presentrepertoire from the rear of the church.The portable console allows for it to belocated either in the gallery or in thefront next to the existing Kenneth Jonespipe organ. This instrument has alsobeen used in the church’s ongoing con-cert series. The organist is CarolineValentine. The façade comprises pipes

from the 8 Gedeckt (1–7) and 4 Har-monic Flute (1–7).

MANUAL (56 notes)8 Gedeckt (1–12 zinc, 13–56 50% tin)8 Salicional (1–12 zinc & Haskell

style, 13–56 50% tin)4 Harmonic Flute (1–12 zinc, 13–56

50% tin)

If your company was not listedin THE DIAPASON 2006 ResourceDirectory, visit <www.TheDiapason.com> and select Supplier Login.

For more information, contactJoyce Robinson, 847/391-1044, <jrobinson@sgcmail.com>.

Bedient Opus 77

MARCH, 2006 29

Calendar

This calendar runs from the 15th of the monthof issue through the following month. The deadlineis the first of the preceding month (Jan. 1 forFeb. issue). All events are assumed to be organrecitals unless otherwise indicated and are groupedwithin each date north-south and east-west. •=AGOchapter event, • •=RCCO centre event, +=neworgan dedication, ++= OHS event.

Information cannot be accepted unless it spec-ifies artist name, date, location, and hour in writ-ing. Multiple listings should be in chronologicalorder; please do not send duplicate listings. THEDIAPASON regrets that it cannot assume responsi-bility for the accuracy of calendar entries.

UNITED STATESEast of the Mississippi

Antone GoddingNichols Hills

United Methodist ChurchOklahoma City

LORRAINE BRUGH, Ph.D.

Associate ProfessorUniversity Organist

Valparaiso UniversityValparaiso, INwww.valpo.edu

219-464-5084Lorraine.Brugh@valpo.edu

LORRAINE BRUGH, Ph.D.

Associate ProfessorUniversity Organist

Valparaiso UniversityValparaiso, INwww.valpo.edu

219-464-5084Lorraine.Brugh@valpo.edu

Bert Adams, FAGOPark Ridge Presbyterian Church

Park Ridge, IL

Pickle Piano & Church Organs

Bloomingdale, IL

LORRAINE BRUGH, Ph.D.

Associate ProfessorUniversity Organist

Valparaiso UniversityValparaiso, INwww.valpo.edu

219-464-5084Lorraine.Brugh@valpo.edu

15 MARCHAndrew Peters; First Presbyterian, Colum-

bia, TN 12:15 pmMark Johnson; Cathedral of St. John the

Evangelist, Milwaukee, WI 12:15 pm

16 MARCHCarissimi and Charpentier oratorios; Church

of St. Luke in the Fields, New York, NY 8 pmCj Sambach; St. Petersburg College, St.

Petersburg, FL 7:30 pm

17 MARCHPieter van Dijk; Miller Chapel, Princeton The-

ological Seminary, Princeton, NJ 7:30 pmCynthia Kahler; Holy Trinity Lutheran, Lan-

caster, PA 12:30 pmPeabody Conservatory Organ Students; Old

Presbyterian Meeting House, Alexandria, VA 8 pm

Jay Peterson; First Presbyterian, Springfield,IL 7 pm

18 MARCHChoral concert; St. Peter’s Episcopal, Morris-

town, NJ 7:30 pmPeter Richard Conte; The Bryn Mawr Pres-

byterian Church, Bryn Mawr, PA 10 amMarilyn Keiser, with orchestra; Thomas

Wolfe Auditorium, Asheville, NC 8 pmPaul Jacobs; Christ United Methodist, St.

Petersburg, FL 3 pmGail Archer; St. Andrew’s Episcopal, Madi-

son, WI Northwest Choral Society; Edison Park

Lutheran, Chicago, IL 7:30 pm

19 MARCHDouglas Major; St. Michael’s, Marblehead,

MA 5 pmMark Brombaugh; United Church on the

Green, New Haven, CT 4 pmVincent Carr; Woolsey Hall, Yale University,

New Haven, CT 8 pmMark Steinbach; Memorial Art Gallery, East-

man School of Music, Rochester, NY 5:30 pmPaul Murray; St. Bartholomew’s, New York,

NY 4:30 pmBach Vespers; Holy Trinity Lutheran, New

York, NY 5 pmJeremy Bruns; St. Thomas Church Fifth

Avenue, New York, NY 5:15 pmKen Cowan; Our Lady of Sorrows, South

Orange, NJ 3 pmChristopher King; Christ Church, New

Brunswick, NJ 6:30 pm, Vespers at 6 pmCraig Cramer; Calvary Episcopal, Pittsburgh,

PA 4 pmNathan Laube; Holy Trinity Lutheran, Lan-

caster, PA 4 pmJoan Lippincott, with strings; Greene Memo-

rial United Methodist, Roanoke, VA 4 pmCj Sambach; First Baptist Church, Lexington,

NC 9:45 am INformance, 3 pm recitalRutter, Requiem; Brevard-Davidson River

Presbyterian, Brevard, NC 4 pmPaul Jacobs; St. Boniface Episcopal, Sara-

sota, FL 4 pmTodd Wilson, with orchestra; Umstattd Per-

forming Arts Hall, Canton, OH 7:30 pmJamie Garvey, with voices and piano; St.

John United Methodist, Augusta, GA 3 pmEric Plutz; St. Philip’s Cathedral, Atlanta, GA

3:30 pm, Evensong at 4 pmDavid Higgs; St. Mark’s Episcopal, Grand

Rapids, MI 8 pmChoral Evensong; Cathedral Church of the

Advent, Birmingham, AL 4 pmChoral concert, with orchestra; St. James

Episcopal Cathedral, Chicago, IL 4 pmWilliam Berg, with orchestra; St. Raphael

Catholic Church, Naperville, IL 4 pmEd Zimmerman; Grace United Methodist,

Naperville, IL 4 pm

20 MARCHTodd Wilson and students; The Church of

the Covenant, Cleveland, OH 7:30 pmDavid Higgs, masterclass; St. Mark’s Episco-

pal, Grand Rapids, MI 8 pm

21 MARCHMcNeil Robinson; St. Mary the Virgin, New

York, NY 7:30 pmWilliam Gudger, with baritone; St. Luke’s

Chapel, Medical University of SC, Charleston,SC 12:15 pm

Charles Tompkins, with trumpet; FurmanUniversity, Greenville, SC 8 pm

Anne Phillips; Church of St. Louis, King ofFrance, St. Paul, MN 12:35 pm

22 MARCHStephen Fraser; Dwight Chapel, Yale Uni-

versity, New Haven, CT 12:30 pm

23 MARCHThe Choir of St. John’s College, Cambridge;

St. Paul’s Episcopal, Chattanooga, TN 7 pm

24 MARCHMargaret Marsch; Holy Trinity Lutheran, Lan-

caster, PA 12:30 pmThe Choir of St. John’s College, Cambridge;

Trinity Episcopal, Vero Beach, FL 7 pmBach, Mass in b; First Presbyterian, Birming-

ham, MI 7:30 pmWilliam Ferris Chorale; Our Lady of Mt.

Carmel Church, Chicago, IL 8 pm

25 MARCHPaul Bisaccia, piano; St. Peter’s Lutheran,

Lancaster, PA 7:30 pmMario Perestegi; St. Patrick Church, Wash-

ington, DC 6:30 pm

26 MARCHDavid Kazimir; Ascension Memorial Church,

Ipswich, MA 4:30 pmCarl Klein, followed by Evensong; Church of

the Advent, Boston, MA 4:30 pmHeinrich Christensen; King’s Chapel,

Boston, MA 5 pmChoir of St. John’s College, Cambridge;

South Church, New Britain, CT 4 pm Paul Jacobs; First United Methodist, Sche-

nectady, NY 3 pmPaul Reese; St. Bartholomew’s, New York,

NY 4:30 pmBach Vespers; Holy Trinity Lutheran, New

York, NY 5 pmRichard Pilliner; St. Thomas Church Fifth

Avenue, New York, NY 5:15 pmRichard Heschke; Christ Church, New

Brunswick, NJ 6:30 pm, Vespers at 6 pmThe Singing Boys of Pennsylvania; St. John

Lutheran, Nazareth, PA 3 pmWayne Wold; Hood College, Frederick, MD 3

pmRobert Parkins; Duke University Chapel,

Durham, NC 5 pmKen Cowan; First Presbyterian, Naples, FL 7

pmJames David Christie; Church of the

Redeemer, Sarasota, FL 7:30 pmCarol Williams; Hyde Park Community Unit-

ed Methodist, Cincinnati, OH 4 pmWesley Roberts; Gethsemani Abbey, Trap-

pist, KY 3 pm Bach, Mass in b; St. Andrew’s Episcopal, Ann

Arbor, MI 4 pmGrand Rapids Cantata Choir; St. Mark Epis-

copal, Grand Rapids, MI 4 pm Steinbach and Helvey Piano Duo; First

Wayne St. United Methodist, Fort Wayne, IN 7pm

Bach, Ach Gott, wie manches Herzeleid; St.Luke Church, Chicago, IL 4 pm

Kammerchor; Concordia University Wiscon-sin, Mequon, WI 3:30 pm

University of Minnesota Choirs; Cathedral ofSt. Paul, St. Paul, MN 3:30 pm

Nancy Lancaster; House of Hope Presbyter-ian, St. Paul, MN 4 pm

27 MARCHThe Choir of St. John’s College, Cambridge;

St. Paul’s Episcopal, Troy, NY 7:30 pmAnthony Pinel; St. Peter’s Episcopal, Morris-

town, NJ 7:30 pmMargaret Kemper; Elliott Chapel, The Pres-

byterian Homes, Evanston, IL 1:30 pm

28 MARCHThe Choir of St. John’s College, Cambridge;

Christ Church, Greenwich, CT 7:30 pmPatrick Kabanda; Central Synagogue, New

York, NY 12:30 pmKirsten Uhlenberg; Church of St. Louis, King

of France, St. Paul, MN 12:35 pm

29 MARCHAndrew Pester; Woolsey Hall, Yale Universi-

ty, New Haven, CT 12:30 pmAnthony Newman, with flute; St.

Bartholomew’s, New York, NY 7:30 pmChoral Evensong, The Choir of St. John’s

College, Cambridge; St. Thomas Church, NewYork, NY 5:30 pm

Laura Ellis; Morrison United Methodist, Lees-burg, FL 12 noon

Carlo Cotrone; Cathedral of St. John theEvangelist, Milwaukee, WI 12:15 pm

30 THE DIAPASON

David Schrader, Dupré, Le Chemin de laCroix; St. Chrysostom’s, Chicago, IL 7 pm

The Basilica Contemporary Ensemble;Queen of All Saints Basilica, Chicago, IL 7:30pm

31 MARCHThe Choir of St. John’s College, Cambridge;

St. Paul’s Cathedral, Buffalo, NY 7:30 pmRoland Martin; Slee Hall, University at Buffa-

lo, Buffalo, NY 8 pmChapel Choir of Winchester College; St.

Bartholomew’s, New York, NY 7:30 pmMarilyn Keiser; Princeton University Chapel,

Princeton, NJ 8 pmMarcos Krieger; Holy Trinity Lutheran, Lan-

caster, PA 12:30 pmFrederick Swann; St. Luke’s Episcopal,

Atlanta, GA 8 pmTallis Scholars; Rockefeller Memorial Chapel,

Chicago, IL 8 pmBruce Neswick; Shryock Auditorium, Car-

bondale, IL 7:30 pmVocalEssence; Ordway Center, St. Paul, MN

8 pm, also 4/1

1 APRILPaul Bisaccia, piano; Keeney Cultural Cen-

ter, Manchester, CT 6 pmBach, St. John Passion; St. Mary’s Church,

New Haven, CT 8 pmMarilyn Keiser, lecture/demonstration; Miller

Chapel, Princeton Theological Seminary,Princeton, NJ 9:30 and 11 am

St. John’s College Choir; McGaw Chapel,Wooster, OH 8:15 pm

Bradley Hunter Welch; Clayton College &State University, Morrow, GA 2 pm

2 APRILHandel, Messiah; Portland City Hall, Portland,

ME 3 pmMartin Jean, Dupré, Stations of the Cross;

Christ Church Episcopal, New Haven, CT 5 pmJohn-Eric Gundersen; Woolsey Hall, Yale

University, New Haven, CT 8 pmMozart, Great Mass in c; Trinity Church, St.

Paul’s Chapel, New York, NY 3 pmWilliam Attwood; St. Bartholomew’s, New

York, NY 4:30 pmBach Vespers; Holy Trinity Lutheran, New

York, NY 5 pmKaren Beaumont; St. Thomas Church Fifth

Avenue, New York, NY 5:15 pmErik Suter; Haddonfield United Methodist,

Haddonfield, NJ 4 pmGail Archer; Christ Church, New Brunswick,

NJ 6:30 pm, Vespers at 6 pmJohn Walker; Wilson College, Chambers-

burg, PA 3 pmYouth choir, with handbells; Doylestown Pres-

byterian, Doylestown, PA 4 pmFauré, Requiem; Old Presbyterian Meeting

House, Alexandria, VA 8:30, 11 amTodd Wilson; Severance Hall, Cleveland,

OH 3 pmJohn Bate; St. Philip’s Cathedral, Atlanta, GA

3:30 pm, Evensong at 4 pmKen Cowan; St. Paul’s Lutheran, Michigan

City, IN 4 pmStephen Schaeffer; Cathedral Church of the

Advent, Birmingham, AL 4 pmFauré, Requiem; First Presbyterian, Arlington

Heights, IL 4 pmMusic of the Baroque; First United Methodist,

Evanston, IL 7:30 pmThomas Weisflog, Dupré, Stations of the

Cross; Rockefeller Chapel, Chicago, IL 3 pmChoral Evensong; St. James Cathedral,

Chicago, IL 4 pmMarijim Thoene, with flute; All Saints’ Epis-

copal, River Ridge, LA 5 pm

4 APRILYekaterina Syrochkina; Central Synagogue,

New York, NY 12:30 pmSamuel Hutchison; Overture Hall, Madison,

WI 7:30 pmCarolyn Diamond; Church of St. Louis, King

of France, St. Paul, MN 12:35 pm

5 APRILNancianne Parrella; Church of St. Ignatius

Loyola, New York, NY 7 pm Choral concert; Church of St. Ignatius Loyola,

New York, NY 8 pmDavid Schrader, Dupré, Le Chemin de la

Croix; St. Chrysostom’s, Chicago, IL 7 pm

6 APRILCharles Huddleston Heaton; St. Andrew’s

Episcopal, Pittsburgh, PA 8 pmChanson; West Liberty State College, West

Liberty, WV 7:30 pm

7 APRILKarl Moyer; Holy Trinity Lutheran, Lancaster,

PA 12:30 pmSinging Boys of Pennsylvania; First Presby-

terian, Lebanon, PA 7 pmCarolina Baroque; St. John’s Lutheran, Salis-

bury, NC 7:30 pmStephen Hamilton; Holy Trinity Lutheran,

Akron, OH 8 pm

8 APRILBach Vespers; Holy Trinity Lutheran, New

York, NY 5 pm

Bach, Mass in b; Rockefeller Chapel, Chica-go, IL 7 pm

9 APRILBach, St. Matthew Passion; Woolsey Hall,

Yale University, New Haven, CT 3 pmKen Cowan; St. Bartholomew’s, New York,

NY 4:30 pmRobert Gant; St. Thomas Church Fifth

Avenue, New York, NY 5:15 pmChoral concert; Church of the Covenant,

Cleveland, OH 4 pm

11 APRILJoan Lippincott; Central Synagogue, New

York, NY 12:30 pm, masterclass at 10 amMozart, Mass in c; St. Bartholomew’s, New

York, NY 7:30 pmLily Ardalan; Church of St. Louis, King of

France, St. Paul, MN 12:35 pm

12 APRILSonia Kim; Woolsey Hall, Yale University,

New Haven, CT 12:30 pmHaydn, The Seven Last Words of Christ;

Rockefeller Chapel, Chicago, IL 8 pm

14 APRILBach, The Passion According to St. John;

First Church of Christ, Wethersfield, CT 7 pmStainer, The Crucifixion; Brick Presbyterian

Church, New York, NY 12:15 pmKen Cowan, Dupré, Le Chemin de la Croix;

St. Bartholomew’s, New York, NY 6 pmDupré, Le Chemin de la Croix; Brick Presby-

terian Church, New York, NY 7 pmHuw Lewis; First United Methodist, Ply-

mouth, MI 7:30 pm

15 APRILThomas Murray, Poulenc, Organ Concerto;

Woolsey Hall, Yale University, New Haven, CT8 pm

Gerre Hancock, accompaniment of EasterVigil service; St. Stephen’s Episcopal, Rich-mond, VA 7:30 pm

16 APRILBach Vespers; Holy Trinity Lutheran, New

York, NY 5 pmJeremy Bruns & Christian Lane; St.

Thomas Church Fifth Avenue, New York, NY5:15 pm

Gerre Hancock, Easter morning worship ser-vice; St. Stephen’s Episcopal, Richmond, VA11:15 am, recital 5 pm

18 APRILMichael Barone; Church of St. Louis, King of

France, St. Paul, MN 12:35 pm

19 APRILColin Lynch; Dwight Chapel, Yale University,

New Haven, CT 12:30 pmCj Sambach, school INformances; First Pres-

byterian, Charlottesville, VA 10:30 am, 1 pm,also 4/20

Todd Wilson, with brass; Church of theCovenant, Cleveland, OH 7:30 pm

Wesley Roberts; Trinity Episcopal, Coving-ton, KY 12:15 pm

20 APRILPaul Jacobs; Northminster Baptist, Jackson,

MS 7:30 pm

21 APRILTrue North Brass; Franklin & Marshall Col-

lege, Lancaster, PA 8 pmCj Sambach; First Presbyterian, Char-

lottesville, VA 7:30 pm•Michael Ging, with harp; Resurrection

Lutheran, Cary, NC 7:30 pmFrederick Swann; First Presbyterian,

Elkhart, IN 7 pmVincent Dubois; Salem United Church of

Christ, Huntingburg, IN 7:30 pmPaul Jacobs, masterclass; Northminster

Baptist, Jackson, MS 10 am

22 APRILRussell Weismann; Dwight Chapel,Yale Uni-

versity, New Haven, CT 5 pmMozart, Requiem; Woolsey Hall, Yale Univer-

sity, New Haven, CT 8 pmGerre Hancock, masterclass; Leith Syming-

ton Griswold Hall, Baltimore, MD 3 pmTodd Wilson, lecture-recital; United

Methodist Church, Berea, OH 10:30 amPaul Jacobs; St. Norbert Abbey, De Pere,

WI 2 pm

23 APRILGillian Weir; Hendricks Chapel, Syracuse

University, Syracuse, NY 4 pmScott Foppiano; Cathedral of St. Patrick,

New York, NY 4:30 pmMaxine Thevenot; St. Thomas Church Fifth

Avenue, New York, NY 5:15 pmThe Practitioners of Musick; Christ

Church, New Brunswick, NJ 6:30 pm, Ves-pers at 6 pm

Peter Richard Conte; Shadyside Presbyter-ian, Pittsburgh, PA 4 pm

Alan Morrison; First Presbyterian, VirginiaBeach, VA 4 pm

Choral concert; First Presbyterian, Lynch-burg, VA 4 pm

A two-inchProfessional Card

in THE DIAPASON

For information on rates andspecifications, contact:

Jerome Buterajbutera@sgcmail.com

847/391-1045

DAVID K. LAMB, D.MUS.

Director of Music/Organist

First United Methodist ChurchColumbus, Indiana

812/372-2851

Brian JonesBrian JonesDirector of Music Emeritus

TRINITY CHURCHBOSTON

Cathedral Church of St. JohnAlbuquerque, New Mexico

www.stjohnsabq.org505-247-1581

Iain QuinnDirector of

Cathedral Music

Maxine ThevenotAssociate Organist-

Choir Director

JAMES R. METZLER

TRINITY CATHEDRAL

LITTLE ROCK

Davis WortmanSt. James’ Church

New York

RONALD WYATTTrinity Church

Galveston

DONALD W. WILLIAMS

IN MEMORIAM

August 5, 1939–September 22, 2005

MMarcia vanOyen mvanoyen.com

Plymouth First UnitedMethodist Church, Plymouth, Michigan

DONALD W. WILLIAMS

IN MEMORIAM

August 5, 1939–September 22, 2005

Marcia vannOyen mvanoyen.com

Plymouthh First UnitedMethodist Church, Plymouth,, Michigan

MARCH, 2006 31

Sally Goff, with soprano, choirs and orches-tra; Second Presbyterian, Roanoke, VA 4 pm

Gerre Hancock; Leith Symington GriswoldHall, Baltimore, MD 4 pm

Len Langrick; St. Philip’s Cathedral, Atlanta,GA 3:30 pm, Evensong at 4 pm

Ken Cowan; Church of Bethesda-by-the-Sea, Palm Beach, FL 4 pm

Vincent Dubois; First Presbyterian, Evans-ville, IN 4 pm

+Jeffrey Verkuilen; First Presbyterian,Neenah, WI 2 pm

Choral concert; Grace United Methodist,Naperville, IL 4 pm

24 APRILNathan LeMahieu; Elliott Chapel, The Pres-

byterian Homes, Evanston, IL 1:30 pm

25 APRILRay Cornils, with choir; Portland City Hall,

Portland, ME noon, 7:30 pmPeter Richard Conte; Graystone Presbyter-

ian, Indiana, PA 7:30 pmMarek Kudlicki; Queen of All Saints Basilica,

Chicago, IL 7:30 pmJon Laukvik; Lawrence University Memorial

Chapel, Appleton, WI 8 pmJason Alden; Church of St. Louis, King of

France, St. Paul, MN 12:35 pm

26 APRILSatomi Akao; Woolsey Hall, Yale University,

New Haven, CT 12:30 pmFrederick Swann; Buncombe Street United

Methodist, Greenville, SC 7:30 pmJon Laukvik, masterclass; Lawrence Univer-

sity Memorial Chapel, Appleton, WI 11:10 am

27 APRILMonteverdi, 1610 Vespers; Church of St.

Luke in the Fields, New York, NY 8 pmMartin Jean; Illinois College, Jacksonville, IL

7:30 pm

28 APRILVincent Dubois; First Presbyterian, Utica,

NY 7:30 pmMaxine Thevenot, with orchestra; Cathedral

of the Incarnation, Garden City, NY 8 pmTom Trenney, with orchestra; First Church

Congregational, Painesville, OH 7 pmClay-Chalkville High School Chamber Choir;

Cathedral Church of the Advent, Birmingham,AL 12:30 pm

Delbert Disselhorst; First Presbyterian,Springfield, IL 7 pm

29 APRIL•Paul Jacobs, masterclass; South Congrega-

tional Church, New Britain, CT 10 amDong-ho Lee; Woolsey Hall, Yale University,

New Haven, CT 8 pmKen Cowan; St. Paul’s Episcopal, Philadel-

phia, PA 7:30 pmCj Sambach, INformance; Asbury United

Methodist, Harrisonburg, VA 2 pm

30 APRILThomas Murray; Christ Church Cambridge,

Cambridge, MA 4 pm•Paul Jacobs; South Congregational Church,

New Britain, CT 4 pmPaul Bisaccia, piano; Immanuel Congrega-

tional, Hartford, CT 4 pmGerre Hancock, hymn festival; Church of St.

Vincent Ferrer, New York, NY 3 pm

Philip Baker; St. Thomas Church FifthAvenue, New York, NY 5:15 pm

David Hurd; Trinity Cathedral, Episcopal,Trenton, NJ 4 pm

Seton Hall University Choir; Our Lady of Sor-rows, South Orange, NJ 4 pm

Paul-Martin Maki; Christ Church, NewBrunswick, NJ 6:30 pm, Vespers at 6 pm

Bradley Hunter Welch; Nativity Cathedral,Episcopal, Bethlehem, PA 4 pm

Handbell concert; Doylestown Presbyterian,Doylestown, PA 4 pm

Maxine Thevenot; The Presbyterian Churchof Chestnut Hill, Philadelphia, PA 3 pm

John Walker; St. Paul Episcopal Church (MtLebanon), Pittsburgh, PA 4 pm

Cathedral Choir; Cathedral of Mary OurQueen, Baltimore, MD 5:30 pm

Cj Sambach, INformance; Asbury UnitedMethodist, Harrisonburg, VA 9:45 am, recital 3pm

Kevin Kwan; Church of the Covenant, Cleve-land, OH 4 pm

Tom Trenney, hymn festival; UnitedMethodist Church, Painesville, OH 7:30 pm

Clayton State Chorale; St. Philip’s Cathedral,Atlanta, GA 3:30 pm, Evensong at 4 pm

Georgia Festival Chorus; Peachtree RoadUnited Methodist, Atlanta, GA 5 pm

The Alleluia Ringers; Concordia UniversityWisconsin, Mequon, WI 3:30 pm

Peter Richard Conte; Cathedral of St.Joseph, Baton Rouge, LA 4 pm

UNITED STATESWest of the Mississippi

15 MARCHMaxine Thevenot, with flute; Cathedral

Church of St. John, Albuquerque, NM 12:30 pmWesley Roberts; Cathedral of Our Lady of

the Angels, Los Angeles, CA 12:45 pm

17 MARCHBradley Hunter Welch; St. James United

Methodist, Little Rock, AR 7:30 pmMelody Chen; Plymouth Congregational,

Seattle, WA 12:10 pmBethany Miller; Christ Church (Episcopal),

Tacoma, WA 12:10 pmPärt, Passio; All Saints’ Episcopal, Beverly

Hills, CA 8 pm

18 MARCHBells in Motion; St. John’s Lutheran, Des

Moines, IA 7:30 pmBethany Miller; The United Churches of

Christ, Olympia, WA 7:30 pm

19 MARCHBarbara Harbach; Christ Church Cathedral;

St. Louis, MO 2:30 pmChanson; Shrine of the Sacred Heart, St.

Louis, MO 3 pmBells in Motion; Dundee Presbyterian,

Omaha, NE 7 pmCompline; St. Stephen’s Presbyterian, Fort

Worth, TX 7 pmPieter van Dijk; Christ the King Lutheran,

Houston, TX 5 pmChoral Evensong; Christ Church Cathedral,

Houston, TX 5 pmIain Quinn; Church of the Holy Faith, Santa

Fe, NM 5 pmFounders Day Concert; Cathedral of the

Madeleine, Salt Lake City, UT 8 pm

Fit for King's - #0610. . . music from England's famous and historic King's College Chapel in Cambridge, plus conversation with organist/choirmaster Stephen Cleobury.

Seattle Serenade - #0611. . . concert performances by Guy Bovet, James David Christie and Bruce Neswick from an American Guild of Organists Convention.

Around Bach - #0612. . . music by offspring, pupils, and later enthusiasts for whom the works of Johann Sebastian Bach were both beacon and benediction.

E. Power to the People - #0613. . . a centenary celebration (Part 1 of 2) of one of the most influential and effective advocates for the pipe organ, the late, great E. (Edward George) Power Biggs (March 29, 1906-March 10, 1997).

MA R C H

2 0 0 6

RICHARD M. PEEKIN MEMORIAM

May 17, 1927–November 28, 2005

32 THE DIAPASON

Choral Evensong; Episcopal Church of theResurrection, Eugene, OR 5 pm

John Stuntebeck; Grace Lutheran, Tacoma,WA 3 pm

Christoph Tietze; Cathedral of St. Mary ofthe Assumption, San Francisco, CA 3:30 pm

Thomas Murray; First Congregational, LosAngeles, CA 4 pm

•Bach Birthday Concert; Trinity Episcopal,Santa Barbara, CA 3:30 pm

Carol Williams; Balboa Park, San Diego, CA2 pm

21 MARCHSteve Gentile; St. Helena, Minneapolis, MN

7:30 pmChoral concert; Christ Church Cathedral; St.

Louis, MO 7:30 pmBurton Tidwell & Melody Steed; Westwood

United Methodist, Los Angeles, CA 7:30 pm

22 MARCHCathedral Chamber Choir; Cathedral Church

of St. John, Albuquerque, NM 12:30 pm

24 MARCHJeffrey Campbell; St. Philip’s in the Hills

Episcopal, Tucson, AZ 7:30 pmSheila Bristow; Plymouth Congregational,

Seattle, WA 12:10 pm

26 MARCHLent Evensong; Christ Church Cathedral; St.

Louis, MO 5 pmMcNeil Robinson; Cathedral Church of St.

John, Albuquerque, NM 4 pmJeffrey Campbell; Arizona State University,

Tempe, AZ 2:30 pmTom Joyce, with sopranos; St. Mark’s Cathe-

dral, Seattle, WA 2 pmDavid Hatt; Cathedral of St. Mary of the

Assumption, San Francisco, CA 3:30 pmAlan Morrison; First Congregational, Los

Angeles, CA 4 pm

29 MARCHJohn Buck; Cathedral Church of St. John,

Albuquerque, NM 12:30 pm

30 MARCHAlan Morrison; Davis Concert Hall, Fair-

banks, AK 8 pm

31 MARCHJames David Christie; Pittsburg State Uni-

versity, Pittsburg, KS 7:30 pm

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Ryan Dye; Plymouth Congregational, Seattle,WA 12:10 pm

1 APRILGeorge Baker, improvisation masterclass;

St. Stephen Presbyterian, Fort Worth, TX 10 am

Paul Jacobs; Canyon Creek Presbyterian,Richardson, TX 8 pm

Robert Bates; Walla Walla College Church,Walla Walla, WA 7:30 pm

2 APRILKingsbury Ensemble; Christ Church Cathe-

dral, St. Louis, MO 2:30 pmElaine Dykstra; Bates Recital Hall, The Uni-

versity of Texas, Austin, TX 3 pmChoral concert; All Saints’ Episcopal, Beverly

Hills, CA 5 pmWilliam Peterson; Pomona College, Clare-

mont, CA 3 pmAlan Morrison, with orchestra; Davis Concert

Hall, Fairbanks, AK 4 pmCarol Williams; Balboa Park, San Diego, CA

2 pm

5 APRILMaxine Thevenot; Cathedral Church of St.

John, Albuquerque, NM 12:30 pm

7 APRILGene Bedient; St. Paul United Methodist,

Lincoln, NE 12:10 pmThomas Joyce; Plymouth Congregational,

Seattle, WA 12:10 pmJoseph Adam; Kilworth Chapel, University of

Puget Sound, Tacoma, WA 12:10 pm

9 APRILBach, St. Matthew Passion; Christ the King

Lutheran, Houston, TX 5 pmUniversity of Oregon Collegium Musicum;

Church of the Resurrection, Eugene, OR5 pm

William Peterson; Bridges Hall of Music,Pomona College, Claremont, CA 3 pm

Paul Jacobs; La Jolla Presbyterian, La Jolla,CA 7 pm

Carol Williams; Balboa Park, San Diego, CA2 pm

11 APRILBach, St. Matthew Passion; Christ the King

Lutheran, Houston, TX 7:30 pm

14 APRILBach, St. Matthew Passion; Christ the King

Lutheran, Houston, TX 3 pm

16 APRILCarol Williams; Balboa Park, San Diego, CA

2 pm

21 APRILBruce Neswick; St. John’s Cathedral (Epis-

copal), Denver, CO 7:30 pm

23 APRILEastertide Evensong; Christ Church Cathe-

dral, St. Louis, MO 2:30 pmEaster Lessons & Carols; St. Stephen’s Pres-

byterian, Fort Worth, TX 11 amMel Butler, with accordion; St. Mark’s Cathe-

dral, Seattle, WA 2 pmBruce Neswick; Trinity Lutheran, Lynnwood,

WA 7 pmJohn Scott; Walt Disney Concert Hall, Los

Angeles, CA 7:30 pmCarol Williams; Balboa Park, San Diego, CA

2 pm

25 APRILHuw Lewis; Wichita State University, Wichi-

ta, KS 7:30 pm

28 APRILGail Archer; Church of St. Helena, Min-

neapolis, MN 7:30 pmJoseph Adam; Kilworth Chapel, University of

Puget Sound, Tacoma, WA 12:10 pmLynn Butler; St. Mark’s Cathedral, Seattle,

WA 7:30 pm

29 APRILGail Archer, lecture and masterclass; Church

of St. Helena, Minneapolis, MN 9:30 am

30 APRILArs Lyrica Houston; Christ the King Lutheran,

Houston, TX 5 pmJames David Christie; Lagerquist Hall,

Pacific Lutheran University, Tacoma, WA 3 pmTim & Nancy Nickel; Zion Lutheran, Port-

land, OR 4 pm

INTERNATIONAL

15 MARCHJames Burchill; Cathedral Church of All

Saints, Halifax, NS, Canada 12:15 pm

16 MARCHDavid Scott; St. Matthew’s Westminster,

London, UK 1:05 pm

18 MARCHDonald Mackenzie; Victoria Hall, Hanley,

Stoke-on-Trent, UK 12 noon Mark Brafield; St. George’s Cathederal

Southwark, London, UK 1:05 pmLewis Brito-Babapulle; St. John the Evan-

gelist, Upper Norwood, UK 6:30 pmDavid Sanger; St. Saviour’s, St. Albans, UK

5:30 pm

19 MARCHDavid Scott; Our Lady of Grace, London, UK

4 pm

22 MARCHJames Burchill; Cathedral Church of All

Saints, Halifax, NS, Canada 12:15 pmRyoki Yamaguchi; Minato Mirai Hall, Yoko-

hama, Japan 12:10 pm

23 MARCHJames Hearn; St. John’s Smith Square, Lon-

don, UK 1 pm

26 MARCHNigel Ogden; Alexandra Palace, London, UK

3 pm

28 MARCHGerard Brooks; St. Lawrence Jewry, Lon-

don, UK 1 pm

29 MARCHJames Burchill; Cathedral Church of All

Saints, Halifax, NS, Canada 12:15 pm

Organ Recitals

30 MARCHJoseph Fort; St. Martin’s, Dorking, UK 1 pmDavid Goode; Reading Town Hall, Reading,

UK 7:30 pm

31 MARCHEdward Norman; Christ Church Episcopal,

Vancouver, BC, Canada 7:30 pm

1 APRILCantores Olicanae; St. Margaret’s, Ilkley, UK

7:30 pm

5 APRILJames Burchill; Cathedral Church of All

Saints, Halifax, NS, Canada 12:15 pm

6 APRILSimon Preston, with trumpet; Symphony

Hall, Birmingham, UK 7:30 pm

7 APRILJonathan Hope; SS. Peter and Paul,

Godalming, UK 1 pmNaomi Gregory; St. Stephen Walbrook, Lon-

don, UK 12:30 pm

10 APRILGerard Brooks & Muriel Phillips; All Souls,

Langham Place, London, UK 7:30 pm

12 APRILJames Burchill; Cathedral Church of All

Saints, Halifax, NS, Canada 12:15 pm

20 APRILAndrew Sampson; St. Matthew’s Westmin-

ster, London, UK 1:05 pmDouglas Hollick; St. John’s Smith Square,

London, UK 1 pm

23 APRILDon Menzies, with The Mennonite Children’s

Choir; Westminster United Church, Winnipeg,MB, Canada 8 pm

28 APRILMarnie Giesbrecht & Joachim Segger;

Christ Church Cathedral, Vancouver, BC, Cana-da 7:30 pm

29 APRILJonathan Rennert; St. Albans Cathedral, St.

Albans, UK 5:30 pm

30 APRILFelix Friedrich; Abteikirche, Hamborn, Ger-

many 4:30 pmNicholas Fairbank, with Sooke Philharmonic

Winds; Pemberton Chapel, Royal Jubilee Hos-pital, Victoria, BC, Canada 2:30 pm

JULIE AINSCOUGH, St. Mary the Vir-gin, Ewell, Epsom, UK, November 26: Austiefer Not schrei ich zu Dir, BWV 686, Pas-sacaglia and Fugue in c, BWV 582, Bach;Choral No. 2 in b, Franck; Variations sur unthême de Clément Jannequin, Le Jardin sus-pendu, Litanies, Alain; Etoile du Soir (Piècesde Fantasie, op. 54), Vierne; Symphony No. 2in c-sharp, op. 26, Dupré.

PETER RICHARD CONTE, Forest Bur-dett United Methodist Church, Hurricane,WV, November 6: Paean, Chuckerbutty; Con-cert Variations on The Last Rose of Summer,Buck; Variations on a Theme of ArcangeloCorelli, Kreisler, transcr. Conte; Aria, Swin-nen; Comes Autumn Time, Sowerby; PianoConcerto in c, Rachmaninoff, transcr. Conte.

PETER DU BOIS, The Charleston Bap-tist Temple, Charleston, WV, October 30:Toccata and Fugue, op. 59, nos. 5–6, Reger;An Wasserflüssen Babylon, BWV 653, Pre-lude and Fugue in E-flat, BWV 552, Bach;Prière, Franck; Scherzo (Symphonie IV),Widor; Psalm Prelude, op. 132, no. 1, How-ells; Carillon de Westminster (Pièces de Fan-taisie), op. 54, Vierne.

MARCH, 2006 33

JEREMY DAVID TARRANT, St. Mark’sCathedral, Shreveport, LA, October 23:Sketch in c, op. 58, no.1, Sketch in D-flat, op.58, no. 4, Schumann; Fantasia and Fugue ing, BWV 542, Bach; There Is a Happy Land,Shearing; Scherzo, Beethoven; Andantesostenuto (Symphonie gothique), Widor;Toccata, Vierne; Lied, Scherzo, Litaize;Nazard (Suite française), Langlais; Prélude,Andante et Toccata, Fleury.

ANITA EGGERT WERLING, FirstPresbyterian Church, Macomb, IL, October23: Prelude in F, Hensel; Sonata in d, op. 65,no. 6, Mendelssohn; Toccata, Adagio andFugue in C, BWV 564, Bach; Ach Gott, erhörmein Seufzen, Fantasia à gusto italiano in F,Fugue in B-flat on B-A-C-H, Krebs; Médita-tion VIII (Méditations sur le Mystère de laSainte Trinité), Messiaen; Christ avec leSaint-Esprit, dans la gloire du Père (LeTombeau d’Olivier Messiaen), Hakim.

CHERIE WESCOTT, First ChristianChurch, Stillwater, MN, October 13: Valetwill ich dir geben, Bach; Wachet auf, op. 78,Karg-Elert; Lobt Gott, ihr Christen, Michel,Karg-Elert; Von Himmel hoch, Benson; Pre-lude and Fugue No. 1 in c, op. 37,Mendelssohn; Introduction to Act III, TheTempest, Sullivan, arr. Bairstow; Carol, For-lana (Five Bagatelles for clarinet and piano),Finzi; Our God, Our Help, Parry; “ . . . ‘Hal-lelujah’ has been restored . . .” (Rubrics),Swing Low (Diptych), “The people respond– Amen!” (Rubrics), Locklair.

CAROL WILLIAMS, The State Universi-ty of New York, Potsdam, NY, October 23:Dialogue, Roberts; Fantasia in c, BWV 562,Bach; Voluntary for Double Organ, Z719,Purcell; Weinen, Klagen, Sorgen, Zagen,Liszt; Morceau de Flutes, Lasceux; Pie Jesu(Requiem ), Fauré; Te Deum (Cinq Improvi-sations), Tournemire; Toccata Primi Toni,Sark; Processional March, Stewart; Spreckels’Fancy, Locklair; On a Spring Note, Torch, arr.Williams; Carilllon de Westminster, Vierne.

MARIO DUELLA, St. Giles EpiscopalChurch, Northbrook, IL, October 28: Preludeand Fugue in G, BWV 541, Wachet auf, ruftuns die Stimme, BWV 645, Bach; Toccata inA, Scarlatti; Solo di flauto, Gran Coro Trion-fale, Capocci; Allegretto, op. 92, no. 3,Rédemption, op. 104, no. 5, Bossi; Assolo,Centemeri; Allegro brillante, Andante mosso,Allegretto grazioso (Messa Solenne), Petrali.

SUSIE GOODSON, with Gene Goodson,baritone, First Baptist Church, Lafayette,IN, September 17: Allegro moderato eserioso, Adagio (Sonata No. 1 in f), DrawNear, All Ye People, O Rest in the Lord (Eli-jah), Mendelssohn; We All Believe in OneTrue God, BWV 680, Jesus, Priceless Trea-sure, BWV 610, I Call to Thee, Lord JesusChrist, BWV 639, Christ Lay in the Bonds ofDeath, BWV 625, Bach; Lo, How a Rose E’erBlooming, Brahms; Amazing Grace, Wood;The Ninety and Nine, Sankey; Now ThankWe All Our God, op. 68, no. 59, Karg-Elert.

TODD GRESICK, with Daniel Lagacy,violin, The Presbyterian Homes, Evanston,IL, October 24: Kyrie, Gott heiliger Geist,BWV 671, Bach; Theme and Variations (SixPieces for Violin and Organ), Rheinberger;Sanctus for Violin and Organ, Karg-Elert;Sonate No. 1, Hindemith; Prelude and Fuguein a, BWV 543, Bach.

CHRISTOPHER HERRICK, Knox Unit-ed Church, Owen Sound, ON, Canada,October 28: Fanfare!, Mathias; Nun danketalle Gott, BWV 657, Bach; Thanks in Blue,Penkulum; Choral and Fugue (Sonata No. 5in c), Guilmant; Toccata and Fugue in F,BWV 540, Bach; Recessional, Mathias; Blues:Die ganze Welt has du uns überlassen,Kiefer; Grand Choeur Dialogué, Gigout;Evensong, Martin; Marche américaine,Widor; Sonata Eroïca, Jongen.

PAUL JACOBS, Old First Church,Springfield, MA, October 16: Sinfonia fromCantata No. 29, Trio Sonata in C, BWV 529,

Bach; Desseins Eternels, Dieu Parmi Nous(La Nativité du Seigneur), Messiaen; Con-certo No. 1 in g, op. 4, Handel; Sicilienne,Toccata (Suite, op. 5), Duruflé.

HERMAN JORDAAN, Busch-ReisingerMuseum, Cambridge, MA, October 16: Par-tite diverse sopra Ach, was soll ich Sündermachen, BWV 770, Bach; Three OrganPieces, Temmingh; Song of an old woman inher hut at dawn (Afrika Hymnus), Grové;Concerto in d, BWV 596, Bach; Introductionand Passacaglia in d, Reger; Ertödt’ unsdurch dein’ Güte (Cantata 22), Bach, transcr.Duruflé; Fantasia in f, KV 594, Mozart; Vari-ations sur un thème de Clément Jannequin,Alain; Pièce d’Orgue, BWV 572, Bach.

THOMAS M. KOLAR, Church of Mary,Mother of God, Massillon, OH, October 30:Toccata and Fugue in d, BWV 565,Schmücke dich, o liebe Seele, BWV 654,Bach; Schmücke dich, o liebe Seele, Karg-Elert, Fox; Rondino, Elegy and Chaconne,Willan; Elegie, Massenet, arr. Parkhurst; Pre-lude on Sine Nomine, Sowerby; Elms (Viewsfrom the Oldest House), Rorem; Festival Pre-lude on Ein’ Feste Burg, Faulkes.

BRUCE NESWICK, Westminster UnitedChurch, Winnipeg, MB, Canada, October23: Toccata, Sowerby; Praeludium und Fugein E-moll, BWV 548, Bach; Sonata I, op. 2,Howells; Fanfares to the Tongues of Fire,King; Evening Song, Hurd; O Welt ich mussdich lassen, Brahms; Suite, op. 5, Duruflé;improvisation on a submitted theme.

DEREK NICKELS, Fourth PresbyterianChurch, Chicago, IL, October 28: Preludeand Fugue in C, op. 109, no. 6, Saint-Saëns;Ach Herr mich armen Sünder, Fantasiasopra Freu dich sehr, Krebs; Ein feste Burg(Cantata 80), Bach, arr. Nickels; Moderatocantabile (Symphonie VIII, op. 42), Widor;Roulade, op. 9, no. 3, Bingham; Requiescat inPace, H. 129, Sowerby; Toccata (Pièces deFantaisie, op. 53), Vierne.

MASSIMO NOSETTI, Church of St.Helena, Minneapolis, MN, October 23: Alle-gro maestoso (Flöten-Concert, op. 55),Rinck; Legend, op. 132 n. 1, Bossi; Preludeand Fugue in e, BWV 548, Bach; Serenataper Corno Inglese, Fumagalli; Legende “St.Francis of Paola walking upon the waves,”Liszt, transcr. Rogg; Arioso (Psalm 84), Bur-tonwood; Fête, Langlais; improvisation onsubmitted themes.

NANCIANNE PARRELLA, withJorge Ávila, violin, Victoria Drake, harp,and Arthur Fiocco, violoncello, Churchof St. Ignatius Loyola, New York, NY,October 30: Sonata, Albinoni; Concertoin B-flat, op. 4, no. 6, Handel; Fratres,Pärt; Humoresque, op. 92, Jongen; Épi-thalame, Letocart; Andante (DoubleConcerto, op. 102), Brahms; Suite, op.14, Rheinberger.

NAOMI ROWLEY, with Julia Steinbach,piano, First United Methodist Church,Appleton, WI, October 23: Tone Piece in F,Gade; Voluntary VIII in d, Stanley; NowThank We All Our God, Sheep May SafelyGraze, Bach; Toccata in d, Nevin; Praludi-um, Micheelsen; Petit Prelude, Jongen; SuiteSunday, Diemer; Minuetto (Duet Suite),Sortie (Liturgical Suite), Bedard.

JOHN SCOTT, Christ Church Cathe-dral, Victoria, BC, Canada, October 12:Was Gott tut, das ist wohlgetan, Pachelbel;Toccata Septima (Apparatus Musico-Organisticus), Muffat; Concerto in F, op.4, no. 5, Handel; Dies sind die HeilgenZehn Gebot, BWV 678, Jesus Christusunser Heiland, BWV 688, Prelude andFugue in a, BWV 543, Bach; Andante in C,K. 356, Fantasia in f, K. 608, Mozart;Andante with Variations in D,Mendelssohn; Handel in the Strand,Grainger, arr. Stockmeier; Miroir,Wammes; The Peace may be exchanged,The people respond—Amen! (Rubrics),Locklair; Carillon de Westminster, Vierne.

34 THE DIAPASON

CLASSIFIED ADVERTISING Classified Advertising Rateswill be found on page 33.

The Cleveland Museum of Art, one of America’sleading comprehensive museums with a dynamicperforming arts, music, and film department, seeksan Associate Director for Music to program itsannual western classical, contemporary, and exhi-bition related music series. The Associate Directorfor Music will report directly to the Director for Per-forming Arts, Music, and Film. S/he will be respon-sible for the excellence and diversity of program-ming of the above mentioned music series. Thecandidate will be highly imaginative and possess adepth and breadth of knowledge of music and bequalified in a keyboard instrument. S/he will beresponsible for maintaining CMA’s collection ofkeyboard instruments and relating them to theconcert series. The candidate will clearly and com-pellingly articulate the forward-looking goals, phi-losophy, and impact of the Museum’s classicaland contemporary music series, regionally, nation-ally, and internationally. In addition s/he will nego-tiate artist’s contracts, develop and manage bud-gets for the western classical and contemporarymusic events; and meet sales and budget projec-tions. A Master’s degree or equivalent in musicalong with a minimum of five years experience inprogramming a classical music series is required.Candidate must be able to maintain a flexibleschedule, with frequent work on evenings andweekends. Excellent organizational skills required.Please email a letter of interest, resume, a list ofreferences, and salary requirements to:resume@clevelandart.org or mail to: HumanResources (ADM), The Cleveland Museum of Art,11150 East Blvd., Cleveland, Ohio 44106. Nophone calls please. EOE/M/F/D/V

Experienced organist wanted—Monthlysalary range $900–$980. Call 925/757-2135 forauditions at the Christian Science Church, Wal-nut Creek, California.

Looking for experienced pipe organ tuners,service technicians and builders to start workimmediately in the New York area. Immediatebenefits including paid holidays, paid vacationand a health care package. 631/254-2744,joellen@elsenerorganworks.com.

OHS Catalog 2006 of organ and theatre organCDs, books, sheet music, DVDs, and VHSvideos. Free. Thousands of items. Mailed gratisupon request to Organ Historical Society, P.O.Box 26811, Richmond, VA 23261, or requestthe printed catalog at www.ohscatalog.org.

Reflections: 1947-1997, The Organ Depart-ment, School of Music, The University of Michi-gan, edited by Marilyn Mason & MargareteThomsen; dedicated to the memory of AlbertStanley, Earl V. Moore, and Palmer Christian.Includes an informal history-memoir of theorgan department with papers by 12 current andformer faculty and students; 11 scholarly arti-cles; reminiscences and testimonials by gradu-ates of the department; 12 appendices, and aCD recording, “Marilyn Mason in Recital,”recorded at the National Shrine of the Immacu-late Conception in Washington, DC. $50 fromThe University of Michigan, Prof. MarilynMason, School of Music, Ann Arbor, MI 48109-2085; or the Organ Literature Foundation,781/848-1388.

Historic Organ Surveys on CD: recorded dur-ing national conventions of the Organ HistoricalSociety. Each set includes photographs, stop-lists, and histories. As many organists as organsand repertoire from the usual to the unknown,Arne to Zundel, often in exceptional perfor-mances on beautiful organs. Each set includesmany hymns sung by 200-400 musicians. His-toric Organs of Louisville (westernKentucky/eastern Indiana) 32 organs on 4 CDs,$29.95. Historic Organs of Maine 39 organs on4 CDs, $29.95. Historic Organs of Baltimore 30organs on 4 CDs, $29.95. Historic Organs ofMilwaukee 25 organs in Wisconsin on 2 CDs,$19.98. Historic Organs of New Orleans 17organs in the Bayous to Natchez on 2 CDs,$19.98. Historic Organs of San Francisco 20organs on 2 CDs, $19.98. Add $2.50 shipping inU.S. per entire order from OHS, Box 26811,Richmond, VA 23261, by telephone with Visa orMasterCard 804/353-9226; FAX 804/353-9266.

Harpsichords from the workshop of KnightVernon. Authentic replicas of historic instru-ments carefully made and elegantly decorated.8201 Keystone, Skokie, IL 60076. Telephone847/679-2809. Web site: www.vernonharpsichords.mykeyboard.com.

PIPE ORGANSFOR SALE

Wicks Organ, ca. 1970, 17 ranks, 2-manualand pedal. Available early 2006, buyer toremove. Make offer. Mt. Pleasant LutheranChurch, Joshua Brown, Music Director, 1700S. Green Bay Road, Racine, WI 53406,262/634-6669, info@mplc.us.

1970s Moller, electro-pneumatic action,three manuals, drawknob console, 37 ranks,currently in use at First Presbyterian Church,Fargo, ND. Buyer to remove between April 16 and May 8, 2006. Best offer. Contact Scott R. Riedel and Associates Ltd., 11040 W. Bluemound Road, Wauwatosa, WI 53226, 414/771-8966, e-mail:consult@riedelassociates.com.

Fabry Inc. has the following instruments forsale on consignment: Wicks 1964, 2 manuals,6 ranks, in storage; Moller 1966, 2 manuals, 10ranks, in storage; Moller 1925, 2 manuals, 10ranks, in church; Moller 1949, 3 manuals, 30ranks, in church; Reuter 1950s, 2 manuals, 9ranks, in church; Moller/Kimball/Kilgen 2 man-uals, 16 ranks, in church; Kimball 1940s, 2manuals, 4 ranks, in storage; Berghaus 1976,2 manuals, 11 ranks, in church. Purchaseinstruments in “as is” condition or Fabry Inc.offers removal, rebuilding, new DC electricsystems, and installation at new location. Forspecifications please e-mail, fax, or write ouroffice. Fabry Inc., 974 Autumn Dr., Antioch, IL60002, fax 847/395-1991, e-mailfabryinc@aol.com.

Reuter Opus #83 in residence music room; 4manuals, 39 ranks. Solo division and Moeller 4-manual console added in 1985. Newdrawknobs, coupler tabs, and toe studs 1989.Ivory keyboards. Excellent playing condition.Residence also for sale. For information, stop-list, photo: 405/378-0175 (after 5 pm CST);<dem1127@yahoo.com>.

1860 Wm. A. Johnson 1/8, including 12-note16 Subbass. Meticulously restored, $39,500;Pedal extension optional. Details: Andrew SmithPipe Organs, 522 East Rd., Cornish, NH 03745.603/542-8316; aesmith1@earthlink.net.

One-of-a-kind opportunity. Gabriel Kney(1991) tracker organ. II/Pedal, 12 stops. Cabinetstyle, solid walnut casework; AGO standard.Designed for residence, chapel, or studio. Forfurther information: www.gabrielkney.com.

1952 Wicks organ. 18 ranks, 26 stops includingmitred 16 Open Diapason and Trombone inpedal. 3-manual drawknob console with pre-pared antiphonal. Original installation divided inbalcony in Cleveland area. $20,000 completeminus blower; buyer to remove. May be seenand played. Call Greg Sparks at 216/252-8264evenings for details.

Wicks practice organ—Three stops underexpression. Would make a good practice organ.Needs some work. Asking $3,500. For moreinformation call 615/274-6400.

Wahl 1-stop continuo organs for sale. Fullyportable, transposable to 4 pitches. Spring 2006delivery. Prices start at $17,000. Visitwww.wahlorganbuilders.com or call 920/749-9633.

Farrand & Votey op. 758, 1899, 2/24. FromRingling home, Baraboo, WI. In storage. Hendrickson Organ Company, St. Peter, MN.Hendorg@aol.com. 507/931-4271. Best offer.

HARPSICHORDS/CLAVICHORDS

PIPE ORGANSFOR SALE

PUBLICATIONS/RECORDINGS

POSITIONS AVAILABLE

g l ü c k n e w yor ko r g a N b u i l d e r s

170 Park Row, Suite 20ANew York, NY 10038

212.608.5651www.glucknewyork.com

Send a copy of THE DIAPASON to a friend:Editor, The Diapason, 847/391-1045; e-mail: <jbutera@sgcmail.com>.

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CHARLES W. MCMANIS

In Memoriam

March 17, 1913–December 3, 2004

MARCH, 2006 35

CLASSIFIED ADVERTISING Classified Advertising Rateswill be found on page 33.

ALL REPLIESTO BOX NUMBERS

that appear without an addressshould be sent to:

THE DIAPASON380 E. Northwest Hwy., Suite 200

Des Plaines, IL 60016-2282

Flue pipes in metal and wood–Mixturesand upperwork are available from stock orspecify custom orders to meet your exactrequirements. Tuning Sleeves withflare–Order complete sets ready to installor bulk quantities in each diameter. Thesesleeves are guaranteed to fit and will nottarnish or corrode. For excellent quality,great pricing and timely delivery contact:International Organ Supply, P.O. Box 401,Riverside, IL 60546. 800/660-6360. FAX708/447-0702.

Postal regulations require that mailto THE DIAPASON include a suite num-ber to assure delivery. Please sendall correspondence to: THE DIAPA-SON, 380 E. Northwest Hwy., Suite200, Des Plaines, IL 60016-2282.

1967 Wicks 2-manual, 3 ranks extended,under 8 residence ceiling, excellent condition; $7,500, buyer to remove. 870/772-8184;steeger@valornet.com.

MISCELLANEOUSFOR SALE

Welte 4-manual console—1928. New ivoriesand ebony, quarter-sawn oak, 101 stop knobs,gorgeous! Mike Jalving, 303/671-6708.

Voicing set-up, 3 stops, electro-pneumatic.Includes blower, regulator, and 8 and 16 offset chests. Asking $600. T. R. RenchCo., Racine, WI. 262/633-9566 ormstulken@wi.net.

Atlantic City Pipe Organ—Tellers: 5-rank unitchest with regulator, played 4 , 12th, 15th,19th, and 22nd—$1,000; Oboe, Cornet,strings. Moller: 3-1/2 wp: 4 Oboe Clarion, IIRausch Quint, 2 Principal; 1924 Moller 4-3/4 sc Trumpet, Capped Oboe, 8 Gemshorn,Durst III pedal mixture/chest—12, 15, 19; IIMixture. Breaking up 1932 Estey #3017—beautiful pipework, Spitz Flutes, mixtures,Gemshorn, 8 Harmonic Flute, Harp, 16 OpenWood, strings with Haskell basses. For more info visit http://mywebpages.comcast.net/acorgan. E-mail: acorgan@comcast.net. Phone 609/641-9422.

1985 Austin tripper combination action for fivedivisions, $350. 1985 Austin pedal contact assem-bly with 25 switches, $150. Klann complete three-division console system wired, $200. Relays,combo actions, pipes and other parts available.Inquiries: e-mail orgnbldr@comcat.com, phone215/353-0286 or 215/788-3423.

1995 Schantz French Horn 8 , 73 pipes, 6scale, 6 pressure. Crated for shipment from California. $3,500 or best offer. organbuilderllc@sbcglobal.net or leave mes-sage at 215/767-9530.

Meidinger blower, $400. 2 static pressure, forcontinuo-type organ, 1 or 2 stops. Housed insilencing box, outside dimensions: 14-3/4 x 16-3/8 x 11-1/2 . Very compact! $100—54-notetracker wind chest, 2 stops. Send for pix.Heavy, about 75 lbs. Complete with pallets,sliders and pull-down levers. Originally built for2-stop continuo organ. May be modified for usein small organ. Originally made by Kleuker.Herb Huestis, #1502—1574 Gulf Road, PointRoberts, WA 98281, phone 604/946-3952, e-mail: hhuestis@mdi.ca. Shipping extra to U.S.or Canada—no overseas.

Organ pipes for sale by Herb Huestis,#1502—1574 Gulf Road, Point Roberts, WA98281, phone 604/946-3952, e-mail:hhuestis@mdi.ca. Shipping extra to U.S. orCanada—no overseas. $400—4 Stopped Flutemade by Detlef Kleuker, 1964 from a 2-rankcontinuo organ. Bottom 7 pipes slightly dam-aged and difficult to repair. Very good conditionfrom g to f 47 notes, suitable as 3 Nazard.Very nice tone at 60mm+. $800—8 Regalmade by Detlef Kleuker, 1964 from a 2-rankcontinuo organ. Very good condition through-out. Bottom two octaves open shallots,Bertouneche shallots from c upwards. Verynice tone at 60mm or greater.

SERVICES/SUPPLIES

Columbia Organ Leathers sells the finestleathers available for organ use. We sell pre-punched pouches and pre-assembled pouches,and we specialize in custom releathering ser-vices. Call today for a catalogue. 800/423-7003or e-mail: darlene@columbiaorgan.com.

Tuning with your laptop—Send $5 for a CD-ROM that features articles on temperaments,tuning, and reed pipe construction. Contact: www.mdi.ca/hhuestis or e-mail:hhuestis@mdi.ca. Herbert L. Huestis, 1574 GulfRd., #1502, Pt. Roberts, WA 98281. Phone604/946-3952.

Highest quality organ control systems since1989. Whether just a pipe relay, combinationaction or complete control system, all parts arecompatible. Intelligent design, competitive pric-ing, custom software to meet all of your require-ments. For more information call WestacottOrgan Systems, 215/353-0286, or e-mail orgnbldr@comcat.com.

SERVICES/SUPPLIES

Top Quality Releathering. Pouch rails, pri-maries, reservoirs and any other pneumaticaction. Removal and installation service avail-able. Full warranty. Skinner, Casavant andKimball specialty. Spencer Organ Company,Inc. Call, Fax or visit our website for quotationand information. 781/893-7624 Voice/Fax,www.spencerorgan.com.

RELEATHERING: also Pipe Organ Rebuild-ing, Repair and Maintenance Service in NewEngland area. Years of experience, fine work-manship. Reading Organ Works, A. RichardHunter, P.O. Box 267, 1324 Vermont Route106, Reading, VT 05062. 802/484-1275.E-mail hunters@sover.net.

Austin actions recovered. Over 30 yearsexperience. Units thoroughly tested and fullyguaranteed. Please call or e-mail for quotes.Technical assistance available. Foley-Baker,Inc., 42 N. River Road, Tolland, CT 06084.Phone 1-800/621-2624. FAX 860/870-7571.foleybaker@sbcglobal.net.

PIPE ORGANSFOR SALE

MISCELLANEOUSFOR SALE

Need help with your re-leathering project? All pneumatics includingAustin. Over 45 years experience (on the job assistance available).615/274-6400.

ATTENTION ORGANISTS! The DiapasonGift Shop has wonderful new offeringsthat will delight you and your organist friends. New this month: OrganbuilderBobbleheads! Yes, now you can graceyour console or dashboard with a livelybobblehead doll featuring the counte-nance of your favorite classic organ-builder! Choose from Gottfried Silber-mann, Arp Schnitger, Aristide Cavaillé-Coll, Henri Clicquot, Henry Willis III, DomBedos, Robert Hope-Jones, Ernest M.Skinner, and G. Donald Harrison. (Comingsoon: organbuilder’s hats—you too canwear a chapeau like Cavaillé-Coll’s!) BoxBobble-Con, THE DIAPASON, jrobin-son@sgcmail.com.

J. H. & C. S. OdellEast Hampton, Connecticut • web: www.odellorgans.comvoice: 860-365-0552 email: info@odellorgans.com

PIPE ORGAN ARCHITECTS AND BUILDERS SINCE 1859 MEMBERS, AMERICAN INSTITUTE OF ORGANBUILDERS

Todd Wilson Christopher Young

KKararen McFen McFarlane Ararlane ArtististstsKKararen McFen McFarlane Ararlane Artististsts2385 Fenwood Road, Cleveland, OH 44118

Toll Free: 1-866-721-9095 Phone: 216-397-3345 Fax: 216-397-7716E-mail: john@concertorganists.com karen@concertorganists.com

Web Site: www.concertorganists.com

George Baker Diane Meredith Belcher Guy Bovet* Stephen Cleobury* Douglas Cleveland Ken Cowan

Stefan Engels Thierry Escaich* David Goode* Gerre Hancock Judith Hancock Martin Haselböck*

David Higgs Marilyn Keiser Susan Landale* Olivier Latry* Joan Lippincott Alan Morrison

Thomas Murray James O’Donnell* Jane Parker-Smith* Peter Planyavsky* Simon Preston George Ritchie

Daniel Roth* Ann Elise Smoot* Erik Wm. Suter Donald Sutherland Thomas Trotter* John Weaver

Gillian Weir*

László Fassang

Calgary 2002

Improvisation

Gold Medal Winner

Grand Prix de Chartres,

2004

Vincent Dubois

Calgary 2002 Recital

Gold Medal Winner

Yoon-mi Lim

AGO National

Competition Winner

Available 2004-2006

The Choir of WestminsterCathedral, UK

Martin Baker, DirectorOctober 13-24, 2006

The Choir of Saint ThomasChurch, NYC

John Scott, DirectorMarch 1-8, 2007

The Choir of WinchesterCathedral, UK

Andrew Lumsden, DirectorOctober 17-29, 2007

*=European artists available2006-2007

CHOIRS ACHOIRS AVVAILABLEAILABLECHOIRS ACHOIRS AVVAILABLEAILABLE

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